A year has gone by so fast, the October National Holiday break is soon upon us and NUART Festival has rolled round again! Good times – here’s the run down…
Chengdu’s free arts and music street festival on Kuixinglou Street is into it’s third year now, with no signs of slowing down. As in previous years, the multi-genre Main Stage will keep things pumping from afternoon till night outside Mintown, featuring some of Chengdu’s favourite acts Wednesday’s Trip, Zhang Xiaobing,Jahwahzoo and CDC, as well as imports from around the country including ChaCha (Shanghai), Chinese Football (Wuhan), WHAI (Beijing) and South Acid MiMi (Kunming).
One of this year’s most exciting addition is NU SPACE, our new venue that has opened out the back of Mintown which will be housing live sets from some of China’s most exciting producers iimmune, Hu Yang and Sulumi and the debut of the audiovisual collaboration 3000.
Kiwese is pleased to announce UMU and Microsoft Voices from Wellington will be performing with prepared turntables and projectors on Day 1, following last year’s Orchestra of Spheres debut on the Main Stage! Yeah!
Day 1 on the Main Stage sees things kick off with indie-pop songsters Wanmei Daoli, Chengdu shoegaze trio Sound and Fury and the good vibes of Tuvan folk tunes of Taiga from Xinjiang. My personal favourites, electro punk witches South Acid MiMi are coming up from Kunming to play Chengdu for the first time! Local hip hop stars CDC will bring all the 迷妹 out to close the night with their trap flavoured, acid tongued Sichuanhua rap.
Main Stage visuals will be run by Morning 早上好 resident Cha Fei 叉飞, so expect some trippy shit.
“We are Micro Soft Voices. We are Kathy, Vicky, Alex and Bruce. We are Apple Core. We are hash busting keyboard fanatics. We are laptop punk.” You do not wanna miss this set, the side project of Baba Rossa and Mos Iocos from Orchestra of Spheres!
Shanshui Records laoban Sulumi returns to Chengdu to perform a live set of his inimitable techno/glitch/8-bit production.
Shake off that hangover and get down for Day 2! Fake Swing (former and current members of The Hormones) will charm the street with their acoustic indie pop in the afternoon, before Biggaton and Blood Dunza “run it!” and get things skankin’ with Jamaican reggaeton MC magic. Charlie Tango from France are sure to please with their uptempo indie rock stylings, while Wuhan’s math rock darlings Chinese Football are one’s to look forward to, returning to Chengdu for the first time since their album release tour. Last but certainly not least, the Queen of underground Shanghai hip-hop ChaCha will get her groove on with DJ Aivilox from the Shelter on the decks! Parrrrrtay!
Day 2 in NU SPACE sees live techno from Beijing-based iimmune (Prajnasonic) and Hu Yang (Be Sure) with visuals by VJ Mian. YESYESYESOHYES.
Reggae big band Jahwahzoo b2b Zhang Xiaobing and Friends will no doubt see Day 3 off to a very green beginning. Chengdu’s legendary Wednesday’s Trip 星期三旅行 bring out the bass with their synth-saturated trip-hop, fronted by vocalist Wu Zhuoling. Starcardigan from Vladivostok return to NU for a follow up to their last show at NU SPACE, bringing their energetic electro-pop to the street!
Closing the Main Stage for 2016 is Beijing experimental rock band WHAI. I saw them play a couple of years ago at Yugong Yishan in Beijing, donning dark sunglasses, they were concealed by a thin transparent sheet while shouting “FUCK” repeatedly over droning guitar noise. Intrigued to see how this will go down on the street.
Faded Ghost a.k.a. ChaCha will spin a back to back vinyl set with Shanghai sister Aivilox in the afternoon.
To close the festival, NU SPACE will transform for the debut of 3000, a collaboration between bass music producers Cvalda and Jason Hou and lighting designers Li Kun and Miao Jing based on the concepts of space, sound and light. “要你命3000”。Not to be missed.
This year, the Street Party has been extended to two zones, one featuring local labels atmen and Disco Death with custom lighting installation by PLGRM, the other a vinyl stage run by Chengdu’s resident street DJ Marco Duits. Perhaps the only time of year the Qingyang District ayis forgo their own 8pm dancing session to get down with the ravers!
So what are you doing this National Holiday?
NUART FESTIVAL 2016
1 - 3 October
3pm - 10:30pm
NU Crossover Art
NU Street Party
NU Market Stalls
地址：成都市青羊区奎星楼街55号 ADD: Kuixinglou Street, Qingyang, Chengdu, Sichuan, China
Genjing Records and Maybe Mars are bringing New Zealand noise punks Die! Die! Die! for their second ever tour of China! This year we are very happy to welcome them to the south-west, including shows in Guiyang, Chengdu and Chongqing.
Kiwese had a chat with frontman Andrew Wilson over the phone a couple of weeks ago in Auckland, where he’d just finished class and was preparing to head to London…
Guitarist and vocalist Andrew Wilson and drummer Michael Prain started playing together in bands in high school, forming Die! Die! Die! in 2003 and immediately shaking things up with their fast-paced, abrasive sound in the New Zealand underground. Once they released their first EP Die! Die! Die! recorded by the legendary Steve Albini (Nirvana, Pixies, Shellac, Big Black) in 2005, the band found themselves touring the world for several years, and have basically been touring, releasing music and creating seas of aggressive mosh pits ever since.
London-born Rory Attwell brings a healthy dose of British badassery to the line-up on bass guitar. Having been active in bands and recording studios for over ten years, Attwell has worked with bands such as Yuck, Palma Violets, Veronica Falls and The Vaccines and also recorded Die! Die! Die!’s latest EP aboard his boat recording studio moored off a wharf in East London.
I’m studying a degree in sustainable business. Basically learning about making business ethical and sustainable, how we can achieve long-term economic, environmental and ethnical benefits. Its something I’ve gotten quite interested in, I’m concerned society has gotten pretty wasteful, pay gaps and gender inequality…
It is quite funny though, going to university now, I didn’t finish high school. I just wasn’t into school at the time, but was into playing in a band.
What kind of environment did you have as a teen playing music?
It was amazing really. At first we practiced in my mum’s basement, and the neighbours would never complain. Dunedin was quite empty at the time and we managed to get our own studio at this record label called Arclife, which was a giant open warehouse above a café. These things we took for granted at the time. The places to practice were ample, which is quite different to Auckland, though we are really lucky here too.
Me and Michael live here in Auckland. Rory who plays bass lives in London. Me and Michael get together and write music every week.
How did Rory end up joining the band?
In 2012 we were booked to do a European tour, we had Michael Logie playing bass, who was in Opossum with Kody Nielson and couldn’t do both at the same time. I’d been good mates with Rory for a couple years and he joined on bass so we could still go on tour, it was really fun!
Quite a small world actually – Rory works on this boat with the studio in the hull. Huge – same as the Tug Boat in Wellington. My cousin used to live on this boat in the UK and the guy who owns it is my cousin’s kid’s godfather! We will record in London before coming to China.
My cousin’s band is gonna open for us in London on this tour. He runs a record store in England called Hot Salvation – DIY punk stuff.
The first time I saw Die! Die! Die! play was at CALH 2010, it left a huge impression on me. What are some particularly memorable gigs that come to mind for you?
Definitely the first HDU show in Dunedin. Around the same time I saw The Dead C when I was really young, about 14 or 15. Then I guess seeing shows in Wellington like The Coolies and The Mint Chicks when they first came down from Auckland when I was like 17 or 18. Blonde Redhead, we had the same manager. I remember seeing The Boredoms in New York. Seeing Mogwai for the first time was a really amazing experience, because I’ve been listening to them for years and have heard about how great they are live. To have a band live up to expectation was very validating and cool.
I remember when Shihad mentioned Die! Die! Die! as an exciting new band in Rip It Up like ten years ago. That comment gained a lot of traction and switched a lot of people onto your band. How do you think the internet has changed the way people discover music?
Music has changed dramatically and people are making really diverse music everywhere, touring network and the internet. There are so many bands and so much music, people share their own music a lot now too. I personally get into music if trusted friends recommend it to me. Rory got me into a lot of cool bands that he’s recorded such as Evans the Death and Veronica Falls.
You are pictured wearing a The Future is Female t-shirt in a recent band photo. How do you think the music industry could do more to get behind feminism and LGBT issues?
Diversify your audience and your line up bills. I think that’s a massive part of it. That was quite an important thing with Die! Die! Die! when we started. We got so busy and kind of forgot about our core values. When you choose what bands you play with you diversify outside your scene. Some people are really anti multi-genre shows. But coming from a punk background, I used to go see hardcore shows which were just five hardcore dude bands. That’s what got me into seeing other kinds of bands, because I was feeling quite disassociated with that kind of thing.
You guys came to China in 2011, what were your impressions?
That was probably my favourite tour ever, which is why I’ve been so excited to come back. The food was amazing, it was culturally different to where we’d been touring, like the US, NZ, Australia and Europe. In China it was cool to play to a whole new audience who had never seen a band from where we were from. It felt like we were doing something quite new. My favourite thing I’ve ever done, musically.
It seems many fans have accessed your music through live shows. What draws you to touring?
We definitely were a touring band for a lot of the past ten years. I think touring and playing live is a really good way to communicate. I think it’s what we always thought a band was supposed to do, obviously we were really inspired by Fugazi. We didn’t really have much else to do really when we started out. It is fun playing to new people in new places.
Anything to say to the fans in China?
Please come! I think we’ll have a really good time!
Die! Die! Die! have toured internationally many times and graced the stages of festivals around the world, including Incubate (Netherlands), SXSW (USA), CMJ Festival (USA), Generic Festival (France), Soy Festival (France), Tour De Chauffe Festival (France), Phono Pop Festival (Germany), Immergut Festival (Germany), Maifeld Derby Festival (Germany), XYEAHX SOMMERFEST (Germany), Deaf Row Fest (Germany), Great Escape (UK), Homebake (Australia), Meredith Music Festival (Australia) Offset Festival (USA), Off The Radar Festival (NZ), Camp A Low Hum (NZ), Homegrown (NZ), Big Day Out (NZ), Rhythm & Vines (NZ), Southern Amp (NZ), L’incourt Festival (Belgium), Hefei Music Festival (China) and soon to be Concrete and Grass in Shanghai.
Die! Die! Die! 已经在新西兰，澳大利亚，法国，西班牙，意大利，克罗地亚，德国，斯洛文尼亚，斯洛伐克，荷兰，英国，爱尔兰，中国，日本，美国，奥地利，捷克，瑞士，比利时，卢森堡，丹麦，希腊，挪威举办过巡演，把他们很强烈的声音带到过很多国际著名的音乐节包括包括Incubate(荷兰), SXSW (美国), CMJ Festival (美国), Generic Festival (法国), Soy Festival (法国), Tour De Chauffe Festival (法国), Phono Pop Festival (德国), Immergut Festival (德国), Maifeld Derby Festival (德国), XYEAHX SOMMERFEST (德国), Deaf Row Fest (德国), Great Escape (英国), Homebake (澳大利亚), Meredith Music Festival (澳大利亚) Offset Festival (美国), Off The Radar Festival (新西兰), Camp A Low Hum (新西兰), Homegrown (新西兰), Big Day Out (新西兰), Rhythm & Vines (新西兰), Southern Amp (新西兰), L’incourt Festival (比利时), Hefei Music Festival (中国) 和将来的上海混泥土音乐节。
They have released the albums Die! Die! Die! EP (2005), Die! Die! Die! (2006), 7” split with High Dependency Unit (2007), Promises, Promises (2008), Form (2010), Harmony (2012), S W I M (2014) and What Did You Expect EP (2015).
他们发行首张专辑《Die! Die! Die! EP》 (2005), 《Die! Die! Die!》 (2006), 《7” split with High Dependency Unit》 (2007), 《Promises, Promises》 (2008), 《Form》 (2010), 《Harmony》 (2012), 《S W I M》 (2014) 和 《What Did You Expect EP》 (2015).
Die! Die! Die! play NU SPACE Chengdu tomorrow night!
Die! Die! Die! 来！来！来！Hold the press, New Zealand noise-rock / post-punk trio Die! Die! Die! are returning to China for the first time in five years for a ten date tour!
It’s a sweltering Thursday afternoon here in Chengdu and I am still nursing a strained neck induced by overly aggressive head banging at the first annual Punkfest CDC 成都朋克音乐节 at Morning House 早上好 last weekend. Speaking of overly aggressive head banging and sweatiness…
Die! Die! Die! are such a great band. Their live show is an almost cathartic experience, the relentless thrashing and collision of flying bodies, the unpredictability of vocalist/guitarist Andrew Wilson as to when he will careen off stage. Just thinking about Michael Prain’s drum intro to A.T.T.I.T.U.D. makes me feel like sporadically pogoing into people.
The band first toured China back in 2011 with Tom from This Town Touring, paving the way into the unknown for other NZ acts to follow. This time, with London-import Rory Attwell (Test Icicles) on bass duties, the band will be brought over by Beijing-based punk tour overlord Nevin Domer from Genjing Records and Maybe Mars for ten dates across Taipei, Hong Kong and the Mainland.
With the new high speed rail from Guiyang to Chengdu making things possible, the Die! Die! Die! train is storming west to play Guiyang, Chengdu and Chongqing, plus the main southern and eastern centres! YEAH!!
DIE! DIE! DIE! CHINA TOUR 2016
Revolver, Taipei Support: Slack Tide, Wayne’s So Sad NT500 (presale and student price) / NT600 (at door)
Focal Fair, Hong Kong
Support: SECTS, The Bollands
“A dream of a shopping cart left in the street in a desolate wasteland is stuck on repeat,” sings Jonathan Zeitlin on Alpine Decline’s latest album Life’s a Gasp, a record that echoes the dystopian smog world of Beijing.
Alpine Decline is Beijing-via-Los Angeles husband and wife rockers Jonathan Zeitlin and Pauline Mu. Self-described as “psych, shoegaze, noise rock and ’90s indie, without sounding too much like any of those,” Alpine Decline are currently touring their seventh album Life’s a Gasp across China with long time confidante, producer and bassist Yang Haisong.
Kiwese caught up with Jonathan ahead of their gig in Chengdu to talk about touring and synthesisers in a WeChat conversation littered with baby smoking Hitler emojis.
KIWESE: Hey Alpine Decline! Where are you guys?
JONATHAN: We’re driving up from Nanning to Guiyang right now and it is fucking gorgeous. Pauline and I are essentially nature-oriented people living in a city that is the antithesis of natural, so this lush landscape really moves us.
Rad, how was the show in Nanning?
Nanning was great. I think in places that don’t get as many touring acts coming through, the thrills are a little bit more palpable. A strange room and a strange feeling, like someone might bar the doors and some shootout might happen, or evil spirits descend… this is the perfect vibe for us to play.
“Playing for ten people ready to freak the fuck out is often more fun than 200 people who are only listening with one ear.“
Can you tell us about your tour bus and crew? Sounds huge!
We’ve been on the US get-in-the-van trip quite a few times and will be doing it again in October with Carsick Cars and Chui Wan, but this is the first time we’ve had a van to tour in china, instead of riding the rails. It completely changes the nature of the expedition – in a way we are temperamentally well suited for.
We brought our baby and a babysitter, so that adds two bodies. There’s the three of us in the band, Xiao Bao running sound, our old friend (and veteran of the earliest P.K.14 van tours) 黄师傅 minding the details, and our very trusted driver. For awhile Nevin from Genjing Records/Maybe Mars came along. Little Monster rolled with us from Shanghai to Nantong and that was max capacity.
Logistics aside, I love ripping down the road. I like stepping out of the car in the middle of nowhere. I like the whole ‘Peter Pan leading a pack of gypsy children out into the wilderness’ vibe.
This is not the first tour Alpine Decline for little Roland, right? He must be almost ready to join the band as the fourth member haha
This is his fourth tour. He did Australia when he was six months old, then the China tour for our last album GO BIG SHADOW CITY and the subsequent US/Canada tour. He’s pretty natural at it. He gets on really well with everyone and can tolerate the dirty language and rough living pretty well.
With kids, I find you create reality for them… they don’t come into the world with a set of expectations of how things are gonna be. So taking him on tour at first was about us being brave, not about him understanding what’s up. We just felt like it was a bad narrative in the long term to say “we used to tour and make albums and then you were born so it all stopped.” We felt like he could have warmth and support and a reasonable measure of stability and safety while still coming into Pauline and my world, joining our lives and our family.
What’s the best thing about being on tour?
There is a lot of wildness on tour; wild thoughts, the crazy feeling of being cut loose, the daily encounter with my fight-or-flight instincts. You meet crazy people and seem to be endlessly celebrating something, I don’t know what. For us, we are very focused on the shows, because getting in a room with people and playing music every night, there is a possibility we will get somewhere interesting, and that’s really the only reason to tour.
Of course we get tired, nerves frayed and maybe lose perspective of reality a little bit. But I’m going to reach a place every night where the moment opens up and freezes and we are all intensely present for some fleeting interval. so 辛苦? 辛苦我可以收。(hardship, hardship I can take.)
Welcome to Chengdu, what’s your impression of this place?
Chengdu and these western parts always leave a very deep impression on us. Of course in Chengdu as everywhere you witness the crush of development, but there is a kind of frontier vibe that comes on this far from the eastern seaboard that strikes me as romantic.
Would be great to have an Alpine Decline synth set in Chengdu!
Aw, I would have loved to do a synth set in Chengdu! When we were planning the tour and figuring out where we could do the synth stuff, I just didn’t know if there was a community interested in that kinda thing…
I wouldn’t say there’s a ‘community’ but certainly individuals who have an interest.
Yeah, I find on tour there is pretty intense interest in the modular synths and people just trying to contextualize asymmetrical music in general, so that after the synth sets we are basically spending about a half an hour talking to the crowd, showing them the synths and explaining stuff.
We use the synths during the rock set too, so we also have gotten people who come out even though they aren’t interested in guitars or rock, but read somewhere about the synths.
If it’s not too mafan, are you able to tell us about your synths for all the synth nerds out there?
Ah, so basically we built two boxes and filled then with different modular synth components from a variety of sources. Eurorack is basically a format, a set of standards, so people can build synth components that will be compatible with other peoples modules. so we have basically a collection of oscillators, filters, VCAs, envelope generators, utilities, etc that we can patch together to create any sound we imagine.
We don’t have any presets or memory banks, it is nearly impossible to perfectly recreate a sound, so every night on tour the synths are slightly different, their ambience a little slippery and sorta every variable. plus they are a lot lighter than lugging around big vintage synths like the last tour haha.
I read in an interview that you recorded Life’s a Gasp in a makeshift studio in the mountains?
I think the place was originally going to be like a western style residential neighbourhood in the mountains past Badaling, northwest of Beijing, but the government moved some factories out to the adjacent valley and the place was more or less abandoned by the ten or twelve people that built houses there. Surreal, kind of ghostly, maybe some abandoned dogs, but with the ruins of unrestored Great Wall snaking along the ridgeline. We kinda had a sound design in mind and wanted to find a very big room where we could record drums, guitar and bass live together, and one of these houses became available to us. So we moved there for a week and were able to create a really different, closed-circuit kind of habitat for this part of the recording process.
So you guys are rolling in Guangxi right now, a far stretch from L.A. You’ve been in Beijing for a decent few years now, do you still align yourselves and your style with the L.A. scene at all?
No, we don’t align ourselves with the L.A. scene at all. Actually, I don’t have a clue what’s been going on in L.A. the last five years at all. Even before we moved here, we were feeling very disassociated with the music scene, pretty aware of the distance between what we were looking to do and the territory around us.
It might be a little different on a personal level for Pauline, because she grew up there, but especially for me just kinda drifting through from more remote parts, L.A. just seems like a fantasy to me, even when I lived there.
I’m originally from a small town in north-eastern Ohio, a sort of farmland about an hour outside of a big collapsing steel town.
There are brilliant musicians in L.A… I’m in disbelief I had the opportunity to call them my friends and whip up some music together… but we had a different plan when we started Alpine Decline and after about a year knew it wasn’t right in L.A.
L.A is known around the world as the mecca of music and film production, so no doubt full of people trying to make it big. Do you find any parallels between that and Beijing?
The scale is really different. People seeking to make art come to Beijing, but the leading industry in Beijing is politics, not art. In L.A., its almost exclusively entertainment, like a coal town with screening rooms instead of mineshafts. Truthfully, L.A. is really just film and TV, so playing music there is still a little outside… unlike New York or Berlin, perhaps.
I don’t know what “making it big” would look like in China. We didn’t think that was an option here, which was part of the appeal.
Alpine Decline play NU SPACE Chengdu this Saturday with support from the almighty Hiperson!
购票请长按下方二维码:Press & extract the QR code below for tickets on Zaomengshe:
atmen is an independent electronic music label in Chengdu, founded by local DJs Su and Xiang in 2015.
Kiwese is very proud to be part of this collective.
Resurfacing from last year’s raves in an empty swimming pool and an underground air raid shelter, atmen return with Aus-atmen Festival 2016, an independent electronic music festival in the lush Chengdu countryside. Techno, camping, fresh air, chill zones, food, drink, what more could you want?
Read more below about the DJs, registration for the Open ‘Shua’ Stage and how to win two tickets!
Video by VJ Mian Music by Su
〖 DATE 〗
Saturday 21 – Sunday 22 May 2016
4:30pm – end
〖 TICKETS 〗
Door sales 100RMB
Pre-sales on Zaomengshe, click here!!
Featuring electronic music all day and all night on the AUS-STAGE and the Open ‘耍’ Stage. Dance. Camping. Tattooing. Market zone. Food and drink.
The AUS-STAGE will feature a handpicked selection of ten local and international DJs, with techno, minimal, house and electronic music pumping from mid-afternoon to the following day… With chill beats, teepees and a swimming pool to cool off in the summer sun, Aus-atmen caters to both your relaxation and party inclinations.
Aus-atmen will fuse music, dance and art with the elements, featuring natural art installations,tattooing and a craft market housed amongst the trees.
Club experience 俱乐部演出经历:
❀ 北京的DADA和灯笼Lantern Beijing
❀ Ein-atmen 2015
❀ Golden Gate (Berlin) Edgar Peng China Tour – Support DJ
❀ Seafood Party 海鲜派对
Currently based in Chengdu, founder and curator of independent fashion retailer Sihe, electronic music collaborator HAO brings his distinctive style and multiplex technique to the AUS-STAGE. From Europe to Asia, from Fashion Week to music festivals, art museums to clubs in Berlin, Hao’s creative outputs as a tech house & techno DJ are underpinned by a passion for independent culture and belief in the spiritual power of electronic music. ❀
MAY Chengdu, CN
在MAY心里”音乐的律动就像是甹驰在沙漠里的感觉”作为一个新鲜电子乐DJ的May，从小受民族乐器的熏陶，这使得之后她在电子音乐的道路上有着自我的风格和意识，对于她而言，能够一直保持极简主义的方式去表达音乐，才能将音乐中的精髓完美释放。偏爱techno的May ，希望用自己的感知去构造出一个通透的音乐时空。正如她所说：“在这个浮躁不安的时代里,通过内心的简化与沉淀，才会找到音乐上的自我表达。” With a university background in traditional Chinese music and performance, May is an up and coming talent who sees music as a “warrior galloping across the desert.” Surrounded by the uplifting sounds of ethnic instrumentation as a child, May holds the power of minimalism at the core of her electronic music expression. By giving people the opportunity to experience new and exciting styles of music, she hopes to build a bigger and better electronic music scene in Chengdu for everyone to enjoy. ❀
DJ, producer and promoter Bchir has evolved from a humble bedroom mixtape creator, to a festival organizer in the late 2000s, to one of the most well-loved techno DJs in Chengdu. As a DJ with refined musical taste and ability to blow the roof off till 8am, Bchir also spreads the gospel of techno with the Chengdu party collective TechnoPowa. With a diverse bag of tracks and an intuition for the dance floor, Bchir will bring his good vibes and deep hypnotic groove to Aus-atmen this year. ❀
Ewan favours deep and edgy techno. With strong post industrial and classical romanticism influences combined with him being a true pioneer in music culture, Ewan has developed a strong personal style. Having played at all of Chengdu’s best underground clubs, as well as Lantern and Dada in Beijing, Ewan is now one of the highlights of Chengdu’s dance scene. ❀
Known for his deep, dance-floor ready house and techno selections, Xiaolong’s sets are unwavering in quality. With over ten years experience at clubs and festivals around China, Xiaolong is one of Chengdu’s most experienced and well-loved DJs. ❀
When hearing the likes of Mike Ravelli, don’t be fooled by his undeniable fresh sound, he’s by no means the new kid on the block! He became a pioneering artist with the infamous Amsterdam based ‘GZG’ collective in the early 00’s, known for their wild warehouse parties that changed the face of the electronic scene. From slow and melodic to fast-paced and energy-packed, his music meets the criteria craved by heated dance floors.
Nowadays, Mike Ravelli is recognised in the Netherlands for his borderless energetic sound in his DJ sets and has built a solid reputation as a popular act. Not only his highly acclaimed productions, supported by artists such as Karotte, Edu Imbernon and Dubfire, but also residencies at favourable Dutch techno and house organisations such as Shoeless, Perception, Thuishaven and the notorious Beachclub Woodstock 69 have lead him towards a career with international recognition. ❀
SU Chengdu, CN
出生于川剧世家的她，从小就对音乐及艺术有着浓厚的兴趣和基础。中学的时候开始接触电子音乐, 从此便迷恋上了这种充满无限创造空间的音乐形式。她始终坚持自己的音乐理想，游走在国内外自己喜欢的派对及电子音乐节，长年在德国、法国、意大利、西班牙等欧洲国家著名电子音乐俱乐部派对及音乐节的现场体验中，萌生了要将真正纯正、高品质的电子音乐及派对带回国内的念头，她逐渐的踏入了音乐推广的行业内，也同时成为一位dj和开始电子音乐制作，希望通过自己对电子音乐的理解和诠释来感染及影响更多的人了解并同样的热爱电子音乐。2014年，她同其他的三位伙伴在成都推出一家地下电子音乐俱乐部 TAG CLUB 其意为 To Another Galaxy,致力于推广电子音乐文化，希望通过这样一个平台，让生活在烦嚣城市生活中的人们，褪去浮躁、烦恼，感受电子音乐的魅力，体验身心灵同电子音乐艺术碰撞的奇妙旅程。同时，四名年轻人亦希望在这样一个充满无限可能的空间里，编织自己的音乐梦想。
Su is one of the co-founders of atmen. Born into a family of Sichuan opera artists, Su grew up surrounded by music and art. First exposed to electronic music in high school, she has had a crush on its infinite space and sound ever since. Having absorbed the energy of German club parties and European electronic festivals for years, Su felt compelled to bring high-quality electronic music to people back home, thus beginning her journey into promotion, DJing and music production.
In 2014, Su and three partners founded an underground electronic music club in Chengdu called .TAG, “To Another Galaxy,” dedicated to pushing electronic music culture and creating a platform for people to create and share a space of endless possibilities and musical dreams. ❀(Check out Su playing at the Morning Bar after party of Orchestra of Spheres: Te China Rockumentary EP. 2 CHENGDU!)
Xiang is one of the co-founders of atmen. Classically trained as a child, two years of university in Germany amidst the backdrop of the mid-2000s techno scene inspired her to become a DJ. Xiang captivates audiences with her intuition for sound and flow – her live set integrates electronic textures from synthesisers and recordings sampled from nature and daily life.
Xiang also collaborates with artist Little New in their audio-visual project XX², amalgamating elements of the natural world and everyday life into a real-time sensory experience. ❀
KR Wellington, NZ
Kristen是一位来自新西兰的吉他手。她在惠灵顿玩过车库摇滚乐队，也喜欢用四轨机做一些Lo-fi的卧室录音，来到成都认识atmen以后就开始使用数字效果和循环来创造电子噪音。她的影响包括krautrock，实验音乐，碧昂丝和techno。这次Aus-atmen她跟Su和Xiang一起演出。Yours truly. Transplanted from Wellington, New Zealand, Kristen is a guitarist who comes from a background of garage rock bands and lo-fi bedroom recordings. She uses digital effects and looping to create electronic beats. Her influences range between krautrock, experimental music, Beyoncé and techno. She will play with Xiang and Su on the AUS-STAGE. ❀
CHAMBERLAIN Beijing, CN / New York, USA
张伯伦 出生在北京 生活在纽约 写诗同时也做声音 也做live performance用诗，声音和视觉交互在一起。 即将就读于在旧金山的Mills College的electronic music and recording media专业 全球最好的Avantgarde Music Academy(先锋音乐学院)。 用声音这个媒介创造空间\环境让人脱离现实/假象。用感官带来的未知，去发现新的可能性。 我相信’气’和能量来自于现在(now) 和每个人都有权利拥有的自由(freedom)。A DJ and a poet. Originally from Beijing, Chamberlain has been studying and living in New York for years. He explores sound that is integrated with body movements and spatiality/sound and architecture, dealing with the sound inside and outside by organizing system of frequencies to intertwine the sonic space and physical space, producing sonic sculptures which remains.Nothing essential happens in the absence of noise. ❀
HIROSHI Hiroshima, JP
Techno, consistency, Japanese ramen. ❀
Come join us in Flower Town on Saturday 21 May! Full moon!
In the bleary eyed haze of 4am in the morning, I stumbled home from the after party at Morning Bar 早上好 and began mashing about on my phone trying to decipher a Chinese van booking app. Several hours later, a comedically large house moving van appeared, and we were ready to go. Chongqing, here we come!
With a lot of laughs and a bit of KFC, the OOS x Lady Lazer Light x Kiwese China tour bullet trained it’s way to the sprawling, hilly municipality of Chongqing, home to 30 million people, the most populated centre in China.
NUTS Livehouse Chongqing is one of the most professional venues I’ve been to in China. These guys have their shit down pat, from the lights to the sound to the promotion to the vibe. The venue itself is located in Deyi Fashion Mall, a bizarre building in Jiaochangkou full of different levels, sections, awnings and shops.
The crowd was electric, with more than 100 people turning up on a weeknight. Although there was no warm-up band arranged, the Spheres magically mutated into a mysterious New Zealand hip hop act called The Niubis™. Never before has Chongqing been so educated about multinational milk corporations, the uterus or breakfast condiments.
It’s the second day of the national October holiday break, and we’ve just taken a 19hr overnight train from Beijing to Chengdu.
After arriving at the Chengdu Music Hotel, we chucked back some egg pancakes 煎饼 and a hot sour noodle 酸辣粉 round the corner on Minzhu Lu (R.I.P.). Back in my neighbourhood, I ran back to my house for a quick shower and change of clothes – having been in Beijing for the past three weeks, it was so good to be home and see all my friends, along with this amazing band from Wellington that I had been raving about for the past year!!
The Spheres were playing the headline slot on Day 3 of the second NUART Festival, a three day music, art and tech extravaganza that takes places over two streets and stages, featuring both local and international acts and artists. They played on a street stage built of bamboo to an enormous and adoring crowd of people young and old. Quite simply, Chengdu has never seen anything like it.
The quiet old street of Minzhu Lu, next to where the gang were staying, will be demolished to make way for a music hall complex.
That includes Morning Bar 早上好, our local watering hole and the venue for the Chengdu after party. Following the festival, Lady Lazer Light set up her projector and eyeballs and Riki presented his techno/juke project Cave Circles for the second time on tour, ultimately pushing his soundcard to the state of kaput. My beautiful friend Su from the electronic label atmen had just come back from Germany and brought her minimal techno vibes to the party.
As usual, Morning Bar was bustling with all sorts of friends. I found Riki eating spicy chicken wings with a reggae band from Guizhou at 3am in the morning.
Morning Bar has since been walled off and left to decay, the glass windows and wooden fixtures have been extracted and recycled by local workers, the eateries and stores have ended their decades long business to move elsewhere. When I walk past the old place on Minzhu Lu my heart sinks, now an empty shell of what was such a joyful hub of drunkenness, music and good times.
But when I glimpse over the blue retaining wall and see the Orchestra of Spheres poster still stuck to the alcove outside, I know that is a memory that can never be demolished.
In the first instalment of our five-part China tour series, Orchestra of Spheres reunite with Lady Lazer Light in Beijing and wreak havoc at School Bar, Temple Bar and Brother’s BBQ Tribe in Feijiacun.