Kiwese on Radio New Zealand

This morning I was interviewed by Jesse Mulligan at Radio New Zealand, you can hear the whole thing here: The Expats: Kristen Ng in Chengdu, China.

Though the word “expat” kind of makes me cringe. It brings to mind rich white people who live in private compounds, send their children to expensive international schools and only socialise with other “expats,” doing the “expat” stuff they read about in their “expat” magazines. People my colour are usually called immigrants. Lol. Anyway.

Here’s the photo with Jung Chang, author of Wild Swans at Writers Week in Wellington.

jung-chang-kristen-vicki

Here’s info about Birdstriking playing in Wellington this Saturday.

And here’s the full track he played at the end, 爱在一方 by Chengdu producer CA1XR.

Thanks for listening!

Far Out Distant Sounds in New Zealand: Interview with Ricky Maymi

Owing to the wondrous power of the innernette, I’ve had the pleasure of knowing Ricky Maymi for a few years now. Known to many as guitarist of the notoriously volatile Brian Jonestown Massacre and The Imajinary Friends, Maymi is also synonymous with the promotion of Chinese indie rock abroad, specifically the Beijing bands that emerged in the late-2000s and have since taken off in a cloud of cigarette smoke on Maybe Mars.

I first came across him when I was living as a student in Beijing, astray in the #wednesdayfreeshotsforladies, all you can drink KTV, shopping mall wasteland of Wudaokou, which post-D22 had become a cultural black hole. Beyond the Katy Perry club remixes, I was ecstatic to discover some of the city’s most cherished acts such as Hedgehog, P.K.14 and Carsick Cars on websites such as Josh Feola’s pangbianr, Tenzenmen, and of course Ricky’s blog Far Out Distant Sounds. Even better, all these bands were just hanging out downtown. Salvation.

Years on, in collaboration with Genjing Records all round GC Nevin Domer (who I met at Carb on Carb and God Bows to Math’s Beijing show in 2013), Far Out Distant Sounds has developed into a distribution, promotion and touring agency for some of Beijing’s finest acts.

We’re comrades as such, music nerds that geek out about Chinese indie rock on the internet all day. As such, it was only a matter of time he was featured here on Kiwese. There just had to be something… remotely… relevant… to New Zeal… oh, yes, here it is!!

Birdstriking from Beijing are in New Zealand this week playing two shows in Auckland on Friday 17 February and Wellington on Saturday 18 February.

birdstriking-tu
Birdstriking @ 凹 Club, Guangzhou, Sept 2015. Photo: Kiwese.

The jewel of the Maybe Mars crown, this triple guitar, noise-punk five-piece have gone from strength to strength over the past few years, releasing their banned in China album Birdstriking (2012) on Anton Newcombe’s label A Recordings and heading abroad to tour the U.S. and UK alongside the Brian Jonestown Massacre.

As remote as you can get, New Zealand seems to be the optimal next stop for Far Out Distant Sounds, meaning things finally seem to be heading south for Chinese indie rock – and I mean that in a purely geographic sense.

We caught up with Ricky to find out more about Birdstriking’s Australian / NZ tour, how he got involved with the Chinese music scene and whether he likes pies or not.

Spoiler: Ricky Maymi loves pies. Thank god.

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Ricky with his son, Otis. Image courtesy of Ricky Maymi.

KIWESE: Where are you right now?

RICKY MAYMI: I’m in South Fremantle, Western Australia. Visiting with my son, Otis and producing an album for a guy named Michael Savage. I’m pretty sure if he was from NZ, Flying Nun would be all over him! He’s got elements of Shayne Carter and Andrew Brough (Straitjacket Fits), David Pine and Matthew Bannister (Sneaky Feelings), James Milne (Lawrence Arabia) and a touch of maybe Alasdair Maclean (The Clientele)… This is our second time making an album of his together. The first one is called Used To Write. Look it up!

Maymi is an interesting surname, where is it from, can you talk a bit about your heritage?

It’s a Corsican name, though my Father was from Nicaragua. He was the kind of guy that shouldn’t be talked about too much, if you know what I mean…?

They made a movie about one of his old business partners, George Jung, entitled Blow. The one with Johnny Depp. Anyhow… I’ve heard there are also Maymi’s in Russia.

You are from San Fran. What was it like growing up there, how did you first “get into music”?

It was always a diverse environment, in every way, in the 20th century. I was raised to be an open minded, accepting person and in SF it would completely work against you to be any other way.

My uncle, Vince Welnick was in a legendary SF band called The Tubes (famous for “White Punks On Dope” and “Don’t Touch Me There.”) He would always be coming back from places like Japan or Europe after touring with someone like David Bowie or The Stranglers and him and my aunt Laurie would always have exotic toys and gifts and cassettes like Hunky Dory (Bowie) or Country Life (Roxy Music) for me and the family – and this obviously made a lasting impression. Vince later joined Todd Rundgren’s band, and The Grateful Dead after that.

My other uncle, Ed Dorn was also a working musician who had played in some fantastic bands like Zolar X and The Aurora Pushups (later The Pushups) and he went on to work on studio projects for bands like True West and many other Bay Area greats. Ed had me listening to things like Bill Nelson and The Human League back in the very early 80’s.

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Young Ricky (right) and friend. Circa 1981. Image courtesy of Ricky Maymi.

“I consider myself very fortunate to have grown up in SF through the 70’s, 80’s and 90’s
I believe I caught the tail end of a great cultural renaissance of the 20th century.”

My mother was a huge Beatles fan so there was also no avoiding the British Invasion bands for me as a young child. Her partner after my father is a real folk music lover and exposed me to Bob Dylan, Tom Rush, Paul Simon and all the rest. He also has a huge appreciation for classical music, so I had a fairly well rounded musical upbringing.

I also played Clarinet, Saxophone and Double Bass in school from an early age.

Prior to getting hooked on Chinese indie music, what kind of awareness and exposure to Chinese culture did you have? I know there is a deep-rooted Chinese community in San Fran and a huge Chinatown.

chinatown-panoramio
San Francisco’s Chinatown, view to Oakland Bay Bridge. Image: Panoramio.

Looking back, I had very little knowledge before getting involved with the music scene in China and visiting there, which I have now done several times. All of my life in SF I’d always been drawn to Chinatown – for the food, the art, the people and the culture. Some of the most beautiful people on Earth. A glimpse in to another, older world.

In college in SF I was exposed to more of the history of Chinese American culture through either my theatre classes or my writing classes.

How did Far Out Distant Sounds come about and what was your inspiration for starting it? Does it basically operate as a booking agency/distro for Maybe Mars?

It started as a scrapbook style blog (www.faroutdistantsounds.com), with links to hear the music – just somewhere one could go online and get a sense of what was happening. Not a comprehensive list of Chinese indie bands but a good selection of the stuff that interested me enough to investigate further… Like a gateway drug.

I had hoped the blog would inspire people to do the same, and to some degree, it appears to have done that.

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Ricky with Birdstriking, 2016. Photo courtesy of Ricky Maymi.

What do you look for as a US-based promoter of Chinese talent and how do you go searching for it, with the firewall and all, and various language barriers?

I am not exactly US-based. I’m Earth-based. Also, there is no real scouting going on from my end. I work closely with Maybe Mars in Beijing and when they have a new release to promote and a band they want to tour outside of China, I become involved through a more organic process as this is all done out of love, admiration and respect.

“Everyone involved understands that this movement is distinctly, extraordinarily significant.”

My main focus has been Birdstriking, Chui Wan, Carsick Cars, White+ and Gate To Otherside. Just a handful of the acts on Maybe Mars.

How often do you come to China? Had you visited China prior to being exposed to bands like Skip Skip Ben Ben, Birdstriking and P.K.14 in 2012?

I had never been to China before 2015. I have been there four times now. Can’t wait to go back! I would absolutely live there if I could – I am in love with Beijing!

Beijing is political centre of China and the undisputed mecca for indie music. How do you view this relationship between politics and alternative music?

It definitely plays a hand in informing the artist’s way forward. Gives them something to rail against, but they don’t do that in obvious, trite ways. They are more clever than that…

What’s your personal connection with NZ? 

My first trip to NZ was in February, 2008. I was visiting Shayne Carter, who I had become good friends with after his band Dimmer toured with my band in the US. He arranged for us to go to Dunedin as he knew how much the music from there had meant to me. I got to see Martin Phillipps play a solo set in the park at midday by surprise. I got to know Robbie Yeats and stayed with Graeme Downes for a few days. Caught up with some folks I had already come to know in America, David Kilgour and Bob Scott. I got to see Bachelorette, Die! Die! Die! and Ned Collette all for the first time. Also heard Lawrence Arabia for the first time. It was an epic visit! I had an amazing time and every moment was like walking through a dream.

I’ve been back several times since, mostly to tour with BJM, but once with Steve Kilbey from The Church. Him and I went to Napier as well as Dunedin to perform in addition to Christchurch, Wellington and Auckland.

I’ve had the odd relationship with women from NZ as well. Unfortunately, it’s always been just that… Odd! Small country… 😉

Do you like pies?

I, of course, love pies!

In an interview with Slinkrat in 2013, you said “Unlike the rest of the world, [Chinese indie rock] isn’t preoccupied with fitting in to something pre-existing in the entertainment world, which is why it reminds me of Flying Nun in the 80’s.” How do you respond when critics say Chinese indie bands are just imitating Western rock standards, something that could never be directed at Flying Nun bands?

Well, they clearly aren’t listening closely enough and they are judging through the context/filter of Western standards which simply do not apply here.

It’s a bit of passive-aggressive, xenophobic elitism playing in to that perspective as well. Alan McGee said himself that there is no such thing as Chinese rock. So did the NOFX dude. They clearly do not know what the hell they are talking about, but you can’t teach an old dog new tricks. They see it the way they want/need to see it to suit whatever agenda they have – that’s fine because enough people know otherwise.

“Even The Beatles had to start somewhere, the most innovative pop band on Earth were covering Chet Atkins and Motown hits of the day when they started.”

The bands from China I work with have obvious Western influences such as Sonic Youth, Velvet Underground, modern composers and experimental music.

None of these kids had the luxury of “growing up” with the Beatles or Bowie the way I did, for example. Or the critics, for that matter and that’s what they need to understand when critiquing this stuff.

Context. It’s from another world. You could hand the same influences to a Western band and they will never come up with the melodies Chui Wan or Birdstriking come up with.

Or have the sonic, aesthetic sensibility of Zhang Shouwang (Carsick Cars, White+), because they are a product of a different world who’s culture is largely unknown to the Western masses.

They aren’t really thinking about it enough or taking these prime factors in to consideration, so I believe their criticisms are lazy and uninformed.

I guess an extension of the above question, and I may be projecting here, but in the past, Chinese acts that get chosen to play internationally are ones that possess some kind of quintessential Chinese characteristics recognizable by international audiences or purveyors of “world” music. Those who do not fill this oriental role are labelled imitators of Western music. Comment.

Again, lazy journalism. The safer stuff that is a truer representation of pure, traditional Chinese culture is always going to be prioritized and given the green light for grants funding or government approval. There is nothing subversive about it. Overtly, if at all. It will be more easily accepted in the West because it doesn’t compete with Western art in any way. Its it’s own thing.

Again, the views of these so-called critiques on Chinese rock stem from a Western Capitalist (capitalism=racism) perspective. The white man lives in fear of China, period. Think about it…. That is one reason I love doing this. Challenge what it is people believe they know about an entire culture that they actually are too afraid and pre-programmed to ever learn anything about. Everyone is mad at China for buying everything up but no one is getting mad at the people pushing the product.

God forbid those evil Chinese would take a Western folk-art (rock music) and serve it back in a fresh, not jaded, more intriguing way. It’s just impossible, right? Wrong! 😉

Tell us about your relationship with Birdstriking. Do you remember the first time you heard them, or saw them live?

I  first heard them in Melbourne in August 2012 with my friends Julian Wu and Shayne Carter. Julian is a Chinese Australian and he had just returned from China with a suitcase full of CDs of all these great Chinese bands. Shayne and I happened to be both staying at Julian’s at the time. It really struck us how much Birdstriking had this 3D’s/Die! Die! Die! thing going on!

I first started to communicate with Wang Xinjiu from Birdstriking around this time. He was on Facebook and was studying in Cardiff, so no firewall. After being in touch with Maybe Mars and helping them to sell a bit of stock in SF, they asked me to help set up shows for Carsick Cars, White+ and The Gar in SF and LA. We did this and it went over pretty well.

At the time, Birdstriking’s vocalist, He Fan was also playing bass for Carsick Cars. He was the first one I met in person. In 2014, Carsick Cars were booked to open for Brian Jonestown Massacre in the UK. Shouwang was ill at the time and couldn’t make it, so we had Birdstriking take their place. This was advantageous as Birdstriking’s album, which was banned from release in China for it’s lyrical content was licensed by BJM’s label and his since been properly released worldwide (excluding China) on A Recordings on CD and vinyl.

Since then, I’ve booked and tour managed an extensive North American tour for Birdstriking in 2015. I went back to Beijing in ’15 and ’16  and produced Birdstriking’s new, upcoming album to be released this year.

It is very exciting, a Chinese band playing in NZ without representing the Embassy or playing at a Chinese cultural festival covered in bank branding! How did this Australia/NZ tour come about? Can we consider it a recon mission for future tours?

Talk to Andrew from Die! Die! Die! – they’ve just recently toured in China with Birdstriking. When I was in Auckland in December having lunch with him and Mikey telling them about the AU dates, they offered to help with NZ. Now it’s all happening. Bless ’em! They are solid guys and kindred spirits. BJM were lucky enough to play some gigs with them in Europe in mid 2008.

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Die! Die! Die! play NU SPACE, Chengdu, Sep 2016. GIF: c2.

Favourite Chinese acts at the mo?

Chui Wan, Carsick Cars, White+, Gate To Otherside, Dear Eloise, Mr Graceless, Duck Fight Goose, Streets Kill Strange Animals, Hedgehog, New Pants, Da Bang, Zhan Pan, Future Orients, Skip Skip Ben Ben, P.K.14... the list goes on and on…

Favourite NZ acts at the mo?   

Lawrence Arabia, Salad Boys, Surf City, Street Chant, Avoid!avoid, Prophet Hens, Shifting Sands, Bachelorette, Tiny Ruins. Then there’s all the more obvious ones. The new ones by Shayne Carter, The Bats, The Chills, I’m a long time fan of kiwi indie bands!

Are there any projects you are working on at the moment that you’d like to talk about?

My band The Imajinary Friends has a new album coming out this year featuring guest appearances by Marleen Nilsson (Death & Vanilla) and Stephen Lawrie (The Telescopes).

Also the other band I play in, Brian Jonestown Massacre, are about to release a new album as well.

Hoping to send Chui Wan, Gate To Otherside, Bedstars, Hiperson, Future Orients and Dream Can to the Southern Hemisphere over the next 18 months or so.

What advice would you give to bands (Chinese or otherwise) wanting to look outward, and/or tour internationally in future?

Create a demand for, and culture around your music and make friends with people in the places you want to play in ahead of time. People who can actually help you set up worthwhile shows. Your hometown is bottom priority.

Thanks and happy new year!

Same to you!


BIRDSTRIKING were one of the most important bands to emerge from the Chinese DIY scene based around the legendary D22 venue. The Noise Punk band have been likened to a Chinese Surf City, highlighted by their unflinching obsession with Sonic Youth and the Brian Jonestown Massacre.

Birdstriking will play only two shows in New Zealand before their Australian tour with label mates Carsick Cars.

birdstriking-nz-poster

2.17 BIRDSTRIKING W/ CARB ON CARB, DAILY KENO
@ GOLDEN DAWN, AUCKLAND

2.18 BIRDSTRIKING W/ PRIZEGIVING, MR AMISH
@ CAROLINE, WELLINGTON

TICKETS AT UNDERTHERADAR.CO.NZ for the OUTRAGEOUSLY 便宜 PRICE OF $7 A POP. GET IT.

Favourite Releases 2016

The other day, while sunbathing on the lawn of a Melrose flat, my friend and I began thinking about the diminishing human element involved in post-internet music consumption.

When I was at high school, I basically lived at Slow Boat Records and Real Groovy – music havens where I’d browse for hours, listen to CD posts, purchase records, get recommendations from staff, find out about new releases from posters in the window, pick up gig guides and buy tickets to upcoming shows.

I remember getting up at dawn to bus into town and be amongst the first to hear Stadium Arcadium the day it was released in New Zealand. I remember staying overnight outside the ticket booth, flanked by fans draped in sleeping bags, eagerly waiting for sales to open for their first Auckland show. This was about ten years ago now.

Nowadays, you can be a fan without ever leaving your front door. With the exception of buying The All Seeing Hand’s Sand to Glass on vinyl at the door of their album release show, I bought all this year’s featured albums online, without even talking to a single person.

The internet means accessibility has grown but human contact has reduced. But the creation, sharing and consumption of music is still an immensely personal thing. These albums create the soundtrack to so many aspects of our lives, they speak to our own experiences or the experiences of others and make us feel things more deeply. Let’s continue to feel, express ourselves and connect with others.

I’m so thankful to all these artists for producing these works and sharing them into the world, where they can be shared and distributed in an instant across the globe.

In no particular order, here are Kiwese’s favourite releases from New Zealand and China in the Year of the Monkey 2016.

Header Illustration: Ali Pang


The All Seeing Hand // Sand to Glass

(MUZAI)
Wellington, NZ

The All Seeing Hand finally gave birth to Sand to Glass in December and oh yesyesyes, it has been worth the wait.

In their first album to feature predominantly English lyrics, Sand to Glass showcases Marks’ politically pertinent wordsmithing, encased in industrial metal clanking by drummer Ben Knight (Rogernomix, Unsanitary Napkin) and those trademark, turbo charged electronic power ups from scratch master Alphabethead.

It is perhaps their most ‘pop’ record to date, if The All Seeing Hand could ever be considered so, with tracks like Lizard Brain and Swarm standing out as previously released singles and indicating a shift away from the more abstract compositions of Mechatronics (2013) and Fog and Debris (2014) and towards a tighter sense of songwriting.

Listened to this on repeat while biking through the smog of Chengdu, the soundtrack to this environmental apocalypse.

Favourite track: Dog Eat Dog


Hu Yang //  Xu Huai Ruo Gu

(Be Sure)
Beijing, CN

My friend Liu Xing introduced me to Xu Huai Ruo Gu earlier this year and I was immediately hooked. Released digitally on the Berlin/Shanghai techno label Be Sure, which is home to brilliant offerings of mixtapes from artists such as Art’s Difficult (ELVIS.T) and Shanghai techno queen MIIIA.

Formerly known as NiChiFanLeMei, this Mt. Emei born Beijing-based producer creates a kind of brutalist, no nonsense techno – all muscle, no fat.

Possibly my most listened album of the year, suitable for furiously bike riding to a destination or scrubbing the kitchen and getting that shit clean as hell.

Favourite track: Restricted


Orchestra of Spheres // Brothers and Sisters of the Black Lagoon

(Fire Records)
Wellington, NZ

FIRELP430 Death And Vanilla - EP LP SLEEVE

Brothers and Sisters of the Black Lagoon is a psychedelic serving of tunes, many which have been part of the Spheres mind-melting live set for the past few years.

Their knack for combining the everyday with the otherworldly is evident throughout the album: Let Us Not Forget, an eerie prayer of reminders before leaving the house, the intensely danceable South East Asian inspired jam Anklung Song and their fast-paced Zombie Zombie cover Rocket #9.

Bubbling with sounds both organic and electronic, voices both chanted and spoken, influences both local and extraterrestrial, Brothers and Sisters of the Black Lagoon is a tasty, special brew from my favourite band of Wellington weirdos.

Favourite track: Anklung Song


Duck Fight Goose // CLVB ZVKVNFT
押打饿《未来俱乐部》

(D-Force Records 大福唱)
Shanghai, CN

Duck Fight Goose have teamed up with producer Lv for this smashing record on D-Force, their first release in four years, the soundtrack to interplanetary cyborg dancefloors.

CLVB ZVKVNFT is bursting with imagination and inspiration, combining elements of breakbeat, acid house, synth pop and techno into a cohesive string of 12-tracks. Busy yet uncluttered, frantic yet disciplined. A triumph.

Favourite track: 《马》


Unsanitary Napkin // Patriotic Grooves

(Zero Style, Always Never Fun, Limbless Records)
Wellington, NZ

FASCIST VOLCANO
SPEWING
MOLTEN SHIT

Patriotic Grooves is a fast and furious fuck you from Wellington punk trio Unsanitary Napkin, formed in 2015 and fronted by guitarist/vocalist Hannah Salmon a.k.a. artist Daily Secretion, who is well known for her zines, gig posters and album art in collaboration with other Wellington-based bands.

The 12-tracks of the album are punctuated with broadcast radio beeps and sound grabs from white, male New Zealand politicians and media identities. Incredible, machine-gun-like drumming from Ben, who forms a blistering rhythm section with Rupert on bass.

As the album’s defining image of Donald Trump being annihilated by a rainbow beam from a winged vagina (the sticker version shaped like a sanitary pad) would suggest, Patriotic Grooves is comprised of vaginal blasts of anarcho feminist anger directed towards the chauvinistic and conservative peaks of society.

Brief and intense.

Favourite track: Feminine Odour


iimmune // Abnormal

(D-Force Records 大福唱片)
Beijing, CN

Melodic, dramatic and emotional. Thoughtful compositions reminiscent of Four Tet and Aphex Twin, Abnormal is the beginning of Bobo’s metamorphosis from film scores to dancefloor ready techno.

Keep an eye on his electronic label Prajnasonic and stay tuned for next year, when the bass will drop.

Favourite track: 鲸鱼-


So Laid Back Country China // Sin Cristales

(Self-released)
Wellington, NZ

“I’m too busy drinking / all of the time”

In September, I found myself sitting in the bath tub of a five star hotel in Auckland, up to my tits in hot water and drowning in anxiety. Like my mind was smashing itself into the ground, stuck in a violent wash cycle of negativity, trapped underwater in a swimming pool covered by an immovable tarpaulin. I felt like I was going to rip my own face off.

Sin Cristales brought me back to earth, having articulated such emotions to great effect. Grateful. xx

Favourite Track: Ballad of Calm Arms


Yue Xuan // Entrance & Exports
岳璇《Entrance & Exports》

(Mo Records)
Beijing, CN

Entrance & Exports is a remix of Yue Xuan’s beautiful piano album In & Out from 2015. Bringing together producers from around China such as MHP, Broken Thoughts, Hong Qile, iimmune and Cvalda onto one impeccably well-crafted compilation (which was initially available as a free download on Douban), the remixes span Minimalist, Post-Rock, Drum & Bass, Techno, Glitch, Drone, Hiphop, Experimental, Ambient and IDM, bringing a whole new electronic take on the original.

Entrance & Exports and accompanying national Remix Tour is a fine example of how this young composer is utilising the resources and connections around her to produce something new and exciting.

Favourite Track: Nine of Swords (Cvalda Remix)


Mermaidens // Undergrowth

(Flying Out)
Wellington, NZ

Mermaidens have come a long way since those first acoustic demos four or five years ago, with Undergrowth released in March establishing them as a staple of the Wellington indie scene.

Enchanting mermaids conjuring “dark witch rock” from the dense scrubland is as psychedelic as it sounds – lurking with hidden dangers, the title-track Undergrowth gradually flows from a slow and dreamy creek into a thrashing, rocky river, a structure many of the songs take on the album. There’s certainly something of the occult about these mermaids, whose reverb drenched vocals often take form in first or second person: “I’m a corpse on the beach / I’m a thing / send me out to sea,” pulling the listener deeper into their imagined natural world.

The undergrowth is a mysterious place barbed with the grit and sharpness of gorse, as well as the strength and unruliness of deep roots. Look forward to new material in 2017.

Favourite track: Under the Mountain II


DOC (Dalian Obscure Club) // Northern Electric Shadow
DOC 《北方电影》

(D-Force Records 大福唱片)
Dalian, CN

There’s something in the water up in Dalian…

I hadn’t even heard of the Dalian Obscure Club until copies of Northern Electric Shadow turned up on CD and vinyl at NU SPACE.

The power of crashing waves, the fluidity of rising tides, the delicacy of swirling rockpools – this is understated, beautiful ocean-inspired math-rock. A fresh breeze of sea air!

Favourite track: 加百利布吉 Gabey’s Boogie


Males // None the Wiser

(Fishrider Records)
Dunedin, NZ

A burst of sunny South Island power-pop. The long-anticipated follow up to their debut MalesMalesMales in 2012, None the Wiser is full of so many bright, catchy riffs and uplifting falsetto parts that wearing sunglasses should be listed as a prerequisite for listening. A set of wonderfully crafted guitar songs.

Favourite track: Chartreuse


The Fuzz // The Root of Innocence
法兹乐队《童心之源》

(Maybe Mars 兵马司)
Xi’an, CN

This upbeat, chorus-soaked indie rock record is possibly the most Maybe Mars-y Maybe Mars release to date – you just know Yang Haisong has been here.

The audience were quietly bopping along when The Fuzz came to Chengdu on their enormous album release tour in early 2016. Then when Sijiang from Hiperson came out to help them sing《控制》, the crowd exploded with cheers and turned into a sea of moshing bodies, it was beautiful.

Favourite Track: 《控制》


Peach Milk // Finally EP

(Self-released)
Auckland, NZ

Peaches and cream are my favourite kind of lollies. So perhaps it is inevitable that I would be into this new young Auckland producer, who dropped her first EP earlier this year. Peach Milk’s music sounds like her name would suggest – sweet and smooth.

Look forward to her sound evolving in the new year.

Favourite track: Heretic


yourboyfriendsucks! // Episode 1
yourboyfriendsucks!《第一季》

(QiiiSnacks Records)
Guangzhou, CN

Six-tracks of candy-coated indie-pop from our Cantonese speaking friends yourboyfriendsucks! Opening with a tribute to Just Like Honey by the Jesus and Mary Chain, how can I not love this? Surprisingly clean production for QiiiSnacks Records (formerly Full Label), known for their DIY lo-fi recordings.

Perhaps the biggest travesty of 2016 is the dissolution of ybfs!, as the lead singer Zoey has moved to Europe to study. Episode 1 is in fact the final episode. Boo!

Favourite track: Stay or Stay Away


Higher Brothers // Higher Brothers Mixtape
海尔兄弟 // 《海尔兄弟》

(Self-released)
Chengdu, CN

higher-brothers-mixtape-cover-art

“来嘛来嘛来嘛差一位 ~ ”

Perhaps I’ve included Higher Brothers Mixtape here more for their impact rather than my own personal taste, but their skyrocket to fame and influence on the local scene this year is certainly noteworthy. If Fat Shady put Chengdu hip-hop on the map, Higher Brothers CDC rappers Masiwei (马思唯), Dz, Psy.P and Melo, have dabbed themselves to the top and become one of Chengdu’s, if not China’s most iconic hip-hop acts.

This 19-track offering is a searing blast of arrogance and attitude delivered in a mix of lightening fast Chengduhua and American slang. Whether or not elongated trap beats are your thing, or that each track repeats the chorus about five times, tracks like 《野猪儿》 and 《尴尬》 have attained anthem-like status and established hip-hop as the biggest sound in Chengdu.

Now managed by Asian hip-hop agency 88 Rising, Higher Brothers have taken Chengdu hip-hop to an international level of “worldwide shit.” As collaborations with international artists such as Harikiri, Charlie Heat, Bohan Phoenix and J.Mag roll in, I look forward to their sound maturing more in future.

HIGHER.

Listen on Xiami.

Favourite track: 《尴尬》


Commended:


Singles:

  • CA1XR //  爱在一方(Future Disco V.I.P)
    Chengdu, CN

  • Cut Off Your Hands // Hate Somebody
    Auckland, NZ

  • Womb // Feeling Like Helium (demo)
    Wellington, NZ

  • Hiperson // 追和等
    Chengdu, CN


Next year we can look forward to…

Debut record from Chengdu indie babes The Hormones, the sophomore album from South Island songstress Nadia Reid, something trippy from Beijing no-wave masters Chui Wan, minimal techno stylings from atmen, the debut record from Kunming electro-punk wastrels South Acid MiMi Dance Team, potentially music from new Maybe Mars signees Lonely Leary and Dream Can  perhaps even something from those mysterious Dunedin-based creatures Elan Vital and Kolya

“This is not a performance” : Interview with Joshua C. Love

Photo by 兀鱼横流

在过去十年里参与成都音乐场景的朋友们都会认识爱书华,迷一般的摇滚变色蝴蝶和Dizzy Love的神秘主唱,由长长的棕色长发绺,烟熏的眼线,纹身的胳膊抱着一群自由奔放的小孩子。 对于他的创作合作,包容性和灵性的观点而言,他的音乐产出众所周知,爱书华是一位在舞台上和舞台下散发活力和安静的沉思的人。

Anyone involved in the Chengdu music scene over the past decade will be familiar with Joshua C. Love (爱书华), the enigmatic frontman of prolific psychedelic rock group Proximity Butterfly and current electronic pop trio Dizzy Love, identified by his long brown dreadlocks, smoky eyeliner, armfuls of tattoos and free-spirited children. Known as much for his music as he is for his views on collaboration, inclusivity and spirituality, Love is a person who exudes a vitality and confidence paired with a quiet contemplation both on and off stage.

Joshua C. Love 爱书华, 2016.
Photo by 陈闵川.

爱书华和他的妻子,同时也是贝斯手、歌手和老师海珊珊以及他们三个出生在加拿大但在中国长大的孩子住在成都。 “我的母亲和父亲都是空军,我的继父一直待在军队,所以我小时候常来往于东海岸和新墨西哥埃尔帕索,”说到他在美国的成长经历,他说,“如果今天我回国肯定会感受到很多文化冲击,关于当代情况,关于电视上的东西,人们在谈论什么…”像他们的父母,爱孩子的夫妻们都是双语教学的,双胞胎只是最近才分清中英文的区别。

Joshua lives in Chengdu with his wife, bassist, vocalist and fellow teacher Heather Christine Love and their three Canadian-born children all of whom have grown up in China from infancy.

 “My mother and father were both in the air force and my stepfather was in the army, so I spent a lot of time moving around down the East Coast and in El Paso, New Mexico,” he says of his own upbringing, “if I went back today I would feel a lot of culture shock with the way things are, things on TV, what people are talking about…” Like their parents, the Love children are all bilingual, with the twins only recently picking up on the difference between English and Chinese.

Josh and Heather, Zebra Festival, 2009.
Photo courtesy of Dan Sandoval.

爱书华于2002年搬到成都当英文老师,不久之后认识海珊珊。“当时候成都就像《现代启示录》那部电影,”他说,关于当时理工大学的周围,“哪儿都能看到香蕉树,稻田,牛拉车,老太太在府南河洗衣服,对我来说,它们充满了灵性。”在这个环境里,变色蝴蝶诞生了。

2003年乐队在他们夫妻的客厅诞生,变色蝴蝶为成都的一个DIY摇滚乐队创造了无限可能。爱书华反映在乐队的第一次排练上:“原来的鼓手陈迪兮从来没有打过架子鼓,海珊珊也从来没弹过贝司。我们只是想用音乐讲故事。” 变色蝴蝶在国内不停地演出,他们赚到钱就用来添置乐队装备,巡演和录音。

Chengdu, 2002.
Photo courtesy of Joshua Love.

Love first moved to Chengdu in 2002 and met Heather soon after. “It was like Apocalypse Now,” he says of the area around Ligong University at the time, “banana trees, rice paddy hats, ox pulling carts, old ladies washing their clothes in the river – to me it had an enormous spirituality to it.” This was the environment in which Proximity Butterfly was born. Starting from humble beginnings in the Love’s living room back in 2003, Proximity Butterfly set the bar for what was possible for a DIY rock band in Chengdu. “Our drummer Chen Duxi had never touched a drum set before, Heather had never played a bass in her life,” Josh reflects on the band’s first rehearsal, “we literally just wanted to tell stories.”  The band performed ceaselessly around town, pouring what little money they made back into gear, touring and studio recordings.

变色蝴蝶海报, 冰石,四姑娘山.
Photo by Kristen Ng.

在2000年中后期成都经历很多变化,道路被建设得更加宽阔,有了二环和三环路。城市以惊人的速度开始发展,而当地音乐和艺术场景也变了。“我觉得从那时候起,成都有一种从根本上让人感到自豪的转变。”爱书华说,“人们开始结合资源把艺术和音乐的梦想变成现实。“ 开始有很多将音乐场景聚集在一起的合作活动,比如斑马节和Cookin’ Chengdu。When the roads were broken down, ring roads built and the city began to develop at breakneck speed around the mid-late 2000s, too came vast changes in the music and arts scene. “There was a shift in attitude that allowed you to be proud to be from Chengdu,” Josh reflects, “ideas to do festivals and art things became possible with the resources that became available.” Collaborative events that brought the music community together such as Zebra Festival and Cookin’ Chengdu came soon after.

“麻糖是很多人开始的地方。

Everybody that’s doing something today was at some point engaged with the Hemp House.”

 

麻糖 Hemp House, 2011.
Photo courtesy of Dan Sandoval.

“当时,麻糖是一个创意人的蜂巢,”他说,“不管是一场嘻哈演出,重金属或绘画的活动,大家都会去那里聚会,然后彼此结识。那是一个黄金时期,感觉像一个亚特兰蒂斯。

十三年来,变色蝴蝶发布了七张专辑,进行了好几次国内外的巡演,得到了许多乐队所渴望的成功。从小咖啡馆演出到成都最受欢迎和标志性的摇滚乐队之一, 这并不容易。担任了多年变色蝴蝶经理人和代理人爱书华说:“很多人认为做乐队只是喝酒和写曲,实际上你必须做一个能在凌晨5点的时候起来将事情安排妥当,又能在演出中保持狂热和活力的人。”随着他们去年的专辑《Medusae》在兵马司发布后,变色蝴蝶暂停了演出 。

“At that time the Hemp House was a beehive for creative people,” he says, “it didn’t matter if it was a hip-hop night, heavy metal or painting event, everybody would go there to hang out, everyone knew each others names, it was a golden period, it felt like an Atlantis.”

Over thirteen years, Proximity Butterfly released seven full-length records, toured both nationally and internationally and enjoyed a degree of success that many would aspire to, elevating themselves from café gigs to one of Chengdu’s most well-loved and iconic rock bands. But it certainly wasn’t easy.

“A lot people think being in a band is just about getting wasted and making new songs,” says Josh, the band’s manager and agent over the years. “You have to be that boring guys that wakes up at 5am and sorts the logistics, you have to be the crazy guy that keeps it real in the live shows – it just got too much.” Following the release of their latest album Medusae on Maybe Mars last year, Proximity Butterfly is now on hiatus.

Happy Ending by Proximity Butterfly
《美好的结局》变色蝴蝶

现在爱书华把他的音乐焦点转向新的乐队Dizzy Love,一个由居住在北京的丹麦制片人Jelly Soendberg和来自意大利的鼓手Cecche组成的三人组。尽管Dizzy Love今年初才组建,但他们已经被邀请参加国内各地的音乐节,包括红原草原音乐节,康定音乐节和Morning House早上好的 春游音乐节。“Dizzy Love是摆脱变色蝴蝶这个名字的一种方式,”爱书华说“如果不叫变色蝴蝶人们还会同样喜欢吗?

“Love has now turned his musical focus towards a new project called Dizzy Love, a trio comprised of Beijing-based Danish producer Jelly Soendberg and Italian drummer Cecche. Despite just forming earlier this year, Dizzy Love have already been invited to play at festivals around the country including Hongyuan Grassland Music Festival, Kangding Love Music Festival and Chunyou at Morning 早上好. “Dizzy Love was a way to shake off the name,” he says, “would anybody even like it if wasn’t called Proximity Butterfly?”

Jelly Soendberg
Cecche

Dizzy Love, Kangding Love Festival.
Photos by 满足视觉&明嘉影像

虽然爱书华还是担任作曲和主唱,Dizzy Love的声音有别于变色蝴蝶的重型摇滚 riff 和鼓。Soendberg丰满的键盘和数字制作,以及Cecche的电鼓节奏都围绕着他独特的人声展开。从《Medusae》的爱情歌开始,Dizzy Love 继续前行。新的组合品质宏伟而梦幻,一个成熟的新形电子流行民谣。“变色蝴蝶对我来说总是黑暗的,像不断投石的魔鬼… 而Dizzy Love如一个开放的阀门,通过各种不同的能量,让我谱写多彩的爱的篇章。

With Joshua still comfortably in the songwriting seat, Dizzy Love moves away from Proximity Butterfly’s heavy rock riffs and drum rolls as the fullness of Soendberg’s keys and digital production and Cecche’s electric drum beats encase themselves around his distinctive chorus-drenched lyrics. The musical direction picks up where love songs on Proximity Butterfly’s curtain call album Medusae left off, the new combination has a grandiose, dreamy quality to it, a mature new form of electronic pop balladry.

“Proximity Butterfly was always darker for me – throwing rocks at the devil and calling out the bullshit,” he says, “Dizzy Love is the opening of a valve that allows a different kind of energy to flow through – to write about love and colourful things.”

“这不是假象,这是最真实的
This is not a performance – this is the most real it could possibly be”

 

听着Dizzy Love的音乐,能很明显的感觉到充满了爱,坚定的信念和饱含的诚意使变色蝴蝶如此耳目一新。我们开始讨论他们的新歌《Bliss》:“一个人要做最真实的自我,爱情帮助我们做到。 当你爱上别人时,你毫无戒备的愿意接受一切。”

Listening to Dizzy Love, it is immediately apparent that Joshua has put the love back into his music with all the sincerity and conviction that made Proximity Butterfly so refreshing. “It is entirely okay to be as honest as you can be; and love helps us do that,” Joshua says of their latest track Bliss, an old song which has finally found its wings with Jelly’s production. “When you are in love with somebody, you put your guard down completely and are just willing to accept everything.”

爱书华和星期三旅行的主唱吴卓玲相识十多年。“我们之间有绝对的信任和尊重。”他说,关于这位歌手,吉他手和电子制作人“我们总是互相支持,有着一个非常良好的关系。”在最近腾龙洞迷笛音乐节,他们决定让这份友情在音乐中也开花结果。“希望这份诚意和积极的态度能够鼓舞到别人,让他们印象深刻。

Joshua has known Wu Zhuoling, frontwoman of Wednesday’s Trip for over ten years. “There’s always been a trust and respect between us,” he says of the singer, guitarist and electronic producer, “we always support each other and have a very positive relationship.” At the recent Midi Festival in Tenglong Caves, the pair decided to bring this long-running musical friendship into fruition. “Working together in good faith with positive energy will hopefully inspire people, let’s make it unforgettable.”

变色蝴蝶歌迷们可能会对乐队的暂停感到失望,但爱书华依然在这里,依然在创作着振奋人心的音乐。随着我们的咖啡将要喝完,爱书华沉思:“荣格说过我们生活就是重叠的反射自己。我的选择是回到起点,不再深入,而是回归。我开始意识到它既是终点也是起点。

While Proximity fans may be disappointed with the band’s hiatus, be assured that Love is still present and making music as uplifting as ever. “Carl Jung was talking about how your life is an overlapped reflection of itself,” he contemplates as our coffee comes to an end, “something happened recently which was a return point, there’s no point to go further into the cosmos, but to loop back through and realize that everything is already as it was.”


2016年11月11日,Dizzy Love和老朋友们星期三旅行要给大家一场星际演出从NU SPACE起飞!
 
On Friday 11th November, Dizzy Love will team up with old friends Wednesday’s Trip to present a show of intergalactic proportions at NU SPACE.

采访和文字:Kristen Ng 伍思婷
中文编辑:兀鱼横流
照片:Dan Sandoval, Joshua Love, 满足视觉&明嘉影像, 陈闵川, 兀鱼横流

mr sterile Assembly China Tour 2016

Brace yourselves – in the second ever Kiwese tour, Wellington outsider punk duo mr sterile Assembly are making their way to China to freak some people out and devour various vegetarian fry-ups. 

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Last month I found myself waiting for some friends outside Baobab Cafe. Despite a two year absence from Wellington, everything was overwhelmingly familiar – the tangy scent of South Indian curries in the breeze, rows of faceless mannikins posing in op-shop windows and bright yellow public buses trundling past with a mechanical groan. Lofty signs for QUICK AND EASY PERSONAL LOANS remained latched to the sides of cheap bakeries. Not much had changed in Newtown, an inner-city suburb dotted with ethnic restaurants and a growing number of hipster hangouts.

After work traffic kept me waiting by the side of the road. Conversation floated by among those clasping fish n’ chips or Keep Cup lattes to their puffer-jacketed chests. A cold wind blew as gutters were scoured for cigarette butts and spare change by the chapped hands of the less fortunate.

The income gap in New Zealand has continued gape wide open in the two years since I’ve been gone. A suit scrolls through his iPhone while a homeless man rolls a used durry. This is the reality of urban Aotearoa – no glossy tourism pamphlets, no rare and endangered birds, no hobbits or wizards.

There is, however, a pair of performance punk musicians whose music speaks to the experiences of the poor, marginalised and ignored members of our society, who believe in telling stories that belong to the current cultural conversation, who believe “indifference is the death of the heart.” They are mr sterile Assembly, dubbed as one of the most unusual live acts in New Zealand, a band who have reached out to Kiwese seeking a way through China.

At a little past half five, my ride arrives.

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Three years since the last break, not a single day off since
Paradise is busy by the bay
In orbit of the corner store, seven days a week
Seven through to seven every day

Upper flat, inner city, such a long, long way from home
Double cleaner’s wages pay the rent
In a tiny condensed world, make do in a single room
Quiet touch only, beside the daughter’s bed

Living third world in a first world city

Employer brands the loyalty, keeps the manners nice
The old bloke at the front desk, bites down the bitterness
Stress value first impression, try to smile with missing teeth
Fight for slight promotion and pass the urine test

Living third world in a first world

A state house by the motorway, a tiny condensed space
How many can camp down, into a single double bed
Fever likes the company, attracted by rheumatic heart
Win the prize of penicillin, or a surgeon on your chest

Loud hear them
Lucky them
Who were there
And who got out
Don’t hear them
Other them
Who are there
Who can’t get out

– ‘Othering Heights’ from It’s All Over
by mr sterile Assembly

A car pulls up in the middle of the road and a man with the most fantastic moustache in the South Pacific gestures for me to hop in. It’s the ringmaster Kieran, the drumming and singing mr sterile himself, with the other half of the Assembly, bassist and vocalist Chrissie, behind the wheel. Car troubles aside, we are soon cruising around the South Coast as the sun sets behind the hills, tinted orange and pink.

We soon arrive at their Happy Valley home – mr sterile gets to work on reheating a veggie curry for tea and Chrissie fires up the brazier. Their kids have all grown up and moved out, leaving the cat to prowl around the cozy living room stacked with a staggering array of books, CDs, records, cassettes and paintings. A drum kit and bass amp sit next to the sofa. It is a home full of music and information.

I’d received an email from mr sterile Assembly several months prior, who had seen the Orchestra of Spheres Rockumentary on YouTube and were themselves long intrigued by the possibility of touring China. A few more emails, a Skype and a serendipitous trip back to New Zealand for Going Global, I was now sitting in their living room hearing tales of Levin bogan basement gigs, the touring circuit in Indonesia and the travels of DIY punk duo Sabot.

It is with much pleasure that I announce the mr sterile Assembly China Tour 2016, kicking off this Friday in Shanghai.

MR STERILE BIO:

The mr sterile Assembly is a bass and drum duo of explosive proportions from Aotearoa New Zealand. With one foot in the world of punk, and the other dancing between noise, math rock, free-form squall, they are not easy to box, and are quite happy about that. Known as much for their wordsmithing as for their impressive live performance, sterile’s fierce delivery has been described as “oppressive and delightful both at the same time.” Organ Magazine, UK.

After 15 years, five albums, and several excursions to Central Europe and South East Asia, Sterile are looking forward to this 20 date tour across 2 continents.

The band will be traveling with their latest album, It’s All Over released through the band’s label skirted Records. International distribution is through Portland based Metal Postcards. Take a listen on Bandcamp to “A jolt of pure creative spirit married to social commentary, and damn good fun!” NZ Musician.

KIWESE PROUDLY PRESENTS: 
MR STERILE ASSEMBLY CHINA TOUR 2016

10.14 (FRI)
Shanghai @ Space-631
NOIShanghai LXXIV X Space-631 Vol.8
Support: Torturing Nurse, 反方向的钟(上海) 白梦薇(上海))
20RMB Door

10.15 (SAT)
Guangzhou @ Loft 345
In Collab With: QiiiSnacks Records
Support: Die!ChiwawaDie!
50/60RMB

10.16 (SUN)
Guiyang @ 劲Power Livehouse
Support: 走失的小马
50/60RMB

10.19 (WED)
Chengdu @ NU SPACE
Support: Don Trash
Visuals: PLGRM
Tickets: zaomengshe.com/c/494912
50/60RMB

10.20 (THU)
Chongqing @ Nuts Livehouse
In Collab With: 珊瑚坝
Support: You Come Twice
50/60RMB

10.21 (FRI)
Wuhan @ Coastline
In Collab With: Imaginary Person
Support: Panic Worm
50/60RMB

10.22 (SAT)
Beijing @ Red Gate Gallery
In Collab With: Dan Beban
TBC

10.22 (SAT)
Beijing @ Caravan
In Collab With: AWEH
Support: Death Narcissist and DJ Fido
Free

10.23 (SUN) 4pm
Beijing @ fruityspace
In Collab With: Sound and Exploration Society
Support: Dead Corner, DINGCHENCHEN
50RMB

mrsterile_explode

mr sterile Assembly是来自新西兰惠灵顿富有爆发性的贝斯和鼓二人乐队。他们一只脚踏在朋克世界,另一只脚则在噪音,数字摇滚,自由即兴的世界中起舞,他们难以被人贴上某种风格的标签,而他们则很满意这种状态。mr sterile Assembly因其伶俐的歌词和神奇的现场出名,他们激烈的演出风格被描述成一种“压迫感和愉快同时存在”的体验。
乐队经过了十五年,在发行了五张专辑,好几个在欧洲和东南亚的巡演之后,mr sterile Assembly非常期待今年的跨两大洲二十个站的巡演。他们要把最近的在自己的skirted records厂牌发行的专辑《It’s All Over》带上。而这张专辑的国际发行则是美国波特兰Metal Postcards厂牌负责。在Bandcamp可以听一下他们的音乐,被NZ Musician网站形容为“纯粹的创新精神与社会评论的联婚,好玩死了!”

“我们的音乐讲故事,这些觉得应该属于在当今发生的文化中的故事,不要被忘记的故事,应该成为当代文化沟通的一部分。”
– mr sterile

http://www.mrsterileassembly.com
http://www.site.douban/mrsterile
http://www.mrsterileassembly.bandcamp.com


Kiwese will be joining the tour from Guangzhou, will try and post updates on the road, see you there!

NUART Festival Chengdu 2016:来耍!!

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…

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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 iimmuneHu 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!

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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.

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Main Stage visuals will be run by Morning 早上好 resident Cha Fei 叉飞, so expect some trippy shit.

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“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.

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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!

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Day 2 in NU SPACE sees live techno from Beijing-based iimmune (Prajnasonic) and Hu Yang (Be Sure) with visuals by VJ Mian. YESYESYESOHYES.


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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.

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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.

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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!


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So what are you doing this National Holiday?

NUART FESTIVAL 2016
1 - 3 October
3pm - 10:30pm

跨界艺术
NU Crossover Art
国际交流
International Communication
巷巷音乐
NU Music
声音实验
Experimental Sounds
街头派对
NU Street Party
摊摊市集
NU Market Stalls

地址:成都市青羊区奎星楼街55号
ADD: Kuixinglou Street, Qingyang, Chengdu, Sichuan, China

无门票 Free!

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Follow us on WeChat: shaochengyoumingtang

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Interview with Andrew Wilson from Die! Die! Die!

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.

Die! Die! Die! 乐队2003年成立于新西兰南岛第二大城市达尼丁。吉他手兼主唱Andrew Wilson和鼓手Michael Prain在中学的时候开始一起玩儿音乐,也做了几个噪音和车库乐队。在成立了Die! Die! Die!乐队后,他们以快节奏和粗厉的声音震动了新西兰地下音乐场景圈;并且迅速在国际舞台上引起了关注)。自从著名录音师Steve Albini (Nirvana, Pixies, Shellac, Big Black)录制了他们的首张同名专辑,Die! Die! Die!就在巡演、发布新专辑和创造令人着魔的疯狂现场中一直前行。

来自伦敦的贝斯手和制作人Rory Attwell把他的英式风格带进来。他十年多一直活跃在各种乐队和录音室里面,也录音和制作了一百多个乐队包括Yuck, Palma Violets, Veronica Falls和The Vaccines。2015年在他的位于在一个伦敦船上的录音室Attwell Recordings,他录了Die! Die! Die!最近发行的EP.来自伦敦的贝斯手和制作人Rory Attwell把他的英式风格带进来。他十年多一直活跃在各种乐队和录音室里,也录制了一百多支乐队包括Yuck, Palma Violets, Veronica Falls和The Vaccines。2015年在他位于伦敦的一艘船上的录音室Attwell Recordings,他录制了Die! Die! Die!最近发行的EP.

Hey Andrew! What are you studying at university?

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.

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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!

Can you tell us about Rory’s recording studio on a boat?

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.

欢迎到中国来!Michael Prain (drums), Andrew Wilson (guitar, vocals), Rory Atwell (bass)
Michael Prain (drums), Andrew Wilson (guitar, vocals), Rory Atwell (bass)

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!

Cheers Andrew!

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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! (NZ)
Support: Stink Mouth (Chengdu)

Tues 12 September 2016
9pm start

NU SPACE
ADD: 成都市青羊区奎星楼街55号

Tickets 60/80RMB
Presales on Zaomengshe, QR code for tickets link.

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Hiperson are touring Europe!

Chengdu’s beloved Hiperson have just set off for their first overseas tour, listen up if you are in Italy, Germany, France, Belgium, Austria, Poland or the Netherlands!!

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Hiperson Europe Tour 2016:

Sun, 11 SEP – Santa Válvola Festival, Prato, IT

Mon, 12 SEP – Fanfulla, Rome, IT

Tue, 13 SEP – Free Ride Club, Perugia, IT

Thu, 15 SEP – Magazzino sul Po’, Torino, IT

Fri, 16 SEP – Linecheck Festival, Milano, IT

Sat, 17 SEP – Import-Export, Munich, DE

Wed 21 SEP – Université Paris Ouest Nanterre La Défense
(Théâtre Koltès), Paris, FR

Thu 22 SEP – Angers Campus Day, Angers, FR

Fri 23 SEP – Le Splendid, Langoiran, FR

Sat 25 SEP – Novo Local, Bordeaux, FR

Mon, 26 SEP – Maison des Musiques, Brussels BE

Wed, 28 SEP – Venster99, Vienna, AT

Thu, 29 SEP – Chmury, Warzawa, PL

Fri, 30 SEP – Pub à la Pub, Potsdam, DE

Sun, 2 OCT- Marie-Antoinette, Berlin, DE

Sat 8 OCT- Cinetol, Amsterdam, NL

Follow them on Facebook for updates and gig info!

 

What Did You Expect? Die! Die! Die! Return to China in 2016

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…

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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

09/07 (WED)
Revolver, Taipei
Support: Slack Tide, Wayne’s So Sad
NT500 (presale and student price) / NT600 (at door)

09/08 (THU)
Focal Fair, Hong Kong

Support: SECTS, The Bollands
150 HKD

09/09 (FRI)
B10, Shenzhen

Support: Atta Girl
60/80RMB

09/10 (SAT)
Loft 345, Guangzhou

Support: TBC
40/60RMB

09/11 (SUN)
Power Livehouse, Guiyang

Support: MiChe
50/70RMB

09/13 (TUE)
NU SPACE, Chengdu 

Support: Stink Mouth
60/80RMB

09/14 (WED)
NUTS
Livehouse, Chongqing
Support: The Wallflowers
60/80RMB

09/15 (THU)
VOX Wuhan
Support: Birdstriking, AV Okubo
60/80RMB

09/16 (FRI)
Yugong Yishan, Beijing
Support: Birdstriking
80/100RMB

09/17 (SAT) 
Concrete and Grass Festival, Shanghai

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欢迎到中国来!Andrew Wilson (guitar, vocals), Rory Attwell (bass), Michael Prain (drums)

Aus-atmen 2016 | Photo Review

Aus-atmen has wrapped for 2016. Last month we descended upon a grassy field in Flower Town with two soundsystems, several dozen tents, 200 lollipops and dreams of techno in the moonlight…
However, Mother Nature is a wild woman who loves to party and she brought her rain to the dancefloor all night long! Despite it all, we felt the love!
2016年5月21日、22日,一群热爱真理与自由的江湖儿女齐聚三圣花乡Aus-atmen电子音乐节,共同经历了两天一夜的难忘时光。无论各种天气与环境的突发状况,他们仍保持初心,用爱的能量鼓励彼此,用舞蹈欢庆生命…

(photos by 叉飞,Xiang and Kiwese)
Formed on the basis of community collaboration, Aus-atmen would not have been possible without all of our partners, supporters, volunteers and friends.
Huge thanks to Spectrum Maker for designing the poster and trailer with us, momo and the BIGGER CHA girls for constructing the Aus-stage installation, Steam Hostel for setting up their tent village, farinablu for her amazing prints and designs, Baicai and Jiewa for building the teepee that saved us from the rain, Zaomengshe and Danche Yule for ticketing, Yue Chen for the wristband design, Natalie at VICE Thump Berlin for coming out to find us, all the DJs who signed up to play Open Shua, the bar and food team for holding it down and all our friends who put their love, time and energy into this festival.
From the sleepless nights of preparation right through to the pack down, Aus-atmen would not have been possible without you.
Big love to all of you who came out – everyone who partied in the rain, fed the fires, danced in the mud, got freaky, drank tea, made coffee, wiped rain off the mixer, pushed water off the stage, kept in high spirits, took care of each other and brought laughter and joy to our wet and muddy little festival.
We love you all!
See you at Ein-atmen later this year….

从前期筹备到音乐节结束,atmen得到了多方的支持:谢谢峰哥提供场地及各项帮助,谢谢谱造司给予前期海报及预告片支持,谢谢悦晨同学的手环设计,谢谢BGC一群可爱又生命力顽强的宝宝们,谢谢momo桑从头到尾的倾力支持,谢谢白菜和杰娃及朋友们手工搭建的teepee帐篷,谢谢瑞升设计的天使们,谢谢造梦社、单车娱乐、旁边儿、来电、kiwese的宣传,谢谢柏林Vice thump的Natalie对ausatmen活动的采访报道,谢谢蒸汽旅舍、farinablu和野手工作室的小伙伴们,谢谢无数可人儿们给予的无限爱的支持和鼓舞,辛苦大家了!
感谢所有喜欢atmen的人,atmen会继续聚集能量,茁壮成长,迎接未知。
今年Ein-atmen见!
atmen
xo


You can read more about atmen over on VICE Thump Germany and Beijing blog pangbianr.

 

 

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