Tag Archives: dada

Aus-atmen Festival: Chengdu countryside techno

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!

aus-atmen poster_final

 

Video by VJ Mian
Music by Su 


〖 DATE 〗
Saturday 21 – Sunday 22 May 2016
4:30pm – end

〖 LOCATION 〗
Dongli Guangchang, Dongli Juyuan, Sanshengxiang (Flower Town)
三圣花乡东篱菊园东篱广场

〖 TICKETS 〗
Pre-sales 80RMB
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.

Retreat from the city to nature, and exhale…


演出阵容
AUS-STAGE
LINE-UP
2016

16:30 – 18:00   Hao (Chengdu, CN)
18:00 – 19:30   May (Chengdu, CN)
19:30 – 21:00   Bchir (Rabat, MA)
21:00 – 22:30   Ewan (Chengdu, CN)
22:30 – 00:00   Xiaolong (Chengdu, CN)
00:00 – 02:00   Mike Ravelli (Amsterdam, NL)
02:00 – 04:00   Su (Chengdu, CN)
04:00 – 06:00   Xiang (Chengdu, CN)
06:00 – 07:30   Chamberlain (Beijing, CN)
07:30 – end     Hiroshi (Hiroshima, JP)


HAO
Chengdu, CN

现居成都 创办了独立时装买手店肆合,其店内常年播放的电子乐令人印象深刻。HAO策划了“心生”“春味” “倒影“等多次独立时装发布会和派对, 多次与电子音乐人跨界合作。从亚洲到欧洲,从时装周到音乐节,艺术馆到俱乐部,独立文化的熏陶的和浓厚的艺术情结让他善于从各处获取灵感,而柏林的音乐风格对他影响尤为深远,HAO偏爱冷和硬的音色,总爱营造广袤的时空感,穿插具有叙事性的旋律章节,情绪连贯又布满起伏

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

may new pic

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. ❀

BCHIR
Rabat, MA

Bchir是一名来自摩洛哥的DJ,他在自己的家乡是一名知名的DJ播客,曾在当地的音乐节以及各大聚会上担任过组织者和DJ. 来到成都以后,在各大电子酒吧举办专场,他也专注于创建自己专属的原创音乐,对Bchir来说,无论通过哪种方式,最重要的是打造一个出色的现场氛围来催眠你的每一根神经,让在场的每一个人跳动起来!

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
Chengdu, CN

凭着对电子音乐的热爱,Ewan在受到数十年古典钢琴的熏陶下,成长为DJ并在北京灯笼俱乐部和Dada演出。他的风格里带有浓郁的后工业和古典浪漫主义音乐的融合。加之他对先锋文化的敏锐度,使其的音乐风格带有极强的符号性。

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. ❀


XIAOLONG
Chengdu, CN

无标题

2004年开始DJ生涯,2010年始活跃于成都地下电子派对,他专注而执着,用苛求完美的态度、深邃迷人的曲风,层次饱满而极富弹性的律动撩拨着每一根跳舞的神经。

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. ❀


MIKE RAVELLI
Amsterdam, NL

如今,MIKE RAVELLI在荷兰已被公认在他的音乐里能获得无限的能量,并且不可抑制的受人喜爱。不仅是因为他广受赞誉的作品,还因为他一直支持这些备受喜爱的Techno and House组织,驻在有利的荷兰Techno和房子的组织,如 Shoeless, Perception, Thuishaven 和Beachclub Woodstock 69。所有的这一切已使他赞誉有加并得到了国际所给予的认可。MIKE RAVELLI已经红透整个荷兰,并在这几年开始更多国际性的演出,例如 Katerholzig Berlin, Egg London, Barraca Valencia, 北京灯笼 – 他一直在做他最热爱的事情 -泡在录音棚,制作永不停歇的音乐的,周游世界的同时去分享他对电子音乐的激情。所以用你的信去听听他的作品和音乐吧。

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
Chengdu, CN

从小在古典音乐的熏陶下成长,大学赴德两年,被电子音乐的能量和声音结构的空间感所吸引,Xiang成为一名techno DJ,将个人对声音的敏锐直觉和感受在现场呈现给大家;她热爱从生活及自然中采集声音,并加入合成器效果,融入电子音乐创作及现场。Xiang与Su共同成立电子音乐厂牌atmen,风格以techno,minimal为主,厂牌包含派对活动、电子音乐制作、服装设计等,并在未来探索更多有趣的领域。同年,响与胥小新一同开展了一个即时视听项目:XX平方,即通过对自然元素及生活细节的采集,即时混合声音及影像,提供一或几种未知的视听角度。

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

电子,稳定,日式拉面。
Techno, consistency, Japanese ramen. ❀


Come join us in Flower Town on Saturday 21 May! Full moon!


[  Thanks to our Partners!  ]
Spectrum Maker, Wild Hands, farinablu, Zaomengshe, Steam Hostel, BGC, pangbianr, Kiwese, Rsiii Design, Laidian Project
[  的合作伙伴! ]
谱造司、野手工作室、farinablu、造梦社、蒸汽旅舍、BGC、旁边儿、 奇异思, 来电, 瑞升设计

 

To win a ticket to Aus-atmen 2016 – simply send your name and WeChat contact details to hellokiwese@gmail.com before Tuesday 17 May. Two winners will be drawn on Tuesday!!

 

Lady Lazer Light Casts A Spell Over China: Interview with Erica Sklenars

Wellington! 惠灵顿!

Erica Sklenars a.k.a. Lady Lazer Light is in the capital this week for two talks about her art residency in Beijing and touring with Orchestra of Spheres around China.

Kiwese caught up with her ahead of tonight’s first talk!


The last Lady Lazer Light show I saw before moving back to China was in collaboration with long time pals Orchestra of Spheres.

It was a cheap $10 gig at Valhalla – a grungy, hole in the wall on Vivian Street downtown Wellington, which having survived several different eras of management had remained popular among the metal, bogan and experimental community for it’s diverse billing, excellent beer selection and outdoor area provisioned with old car tyres and miscellaneous lounge furniture.

It was mid-2014, a rough time for Wellington music punters with the closures of popular inner city venues Mighty Mighty and Puppies. San Francisco Bath House had been renovated into ‘San Fran’ – a yuppie, tapas-catering ghost of it’s former self that had halved it’s capacity due to safety concerns – the packed out balcony and wall-to-wall mosh pit had become a thing of the past. The city was thirsty for a good show.

The Valhalla line-up included some of Wellington’s favourite acts, who were not greatly affected by the venue closures as they were accustomed to playing in unconventional spaces around town. Throat-ripping turntable noise trio the All Seeing Hand had arrived home from their national tour and were supported by their good mates Orchestra of Spheres, experimental folk yodeller Seth Frightening, and visually enhanced by the Queen of Psychedelic Projections Herself, Lady Lazer Light. The stage was a whirlpool of colour and sound and the bar was packed with familiar faces, with Valhalla regulars happily drinking alongside the refugees of less fortunate venues.

In the second set of the night, the Spheres took the stage in inimitable style – festooned with the finest eyewear The $2 Shop can buy, armed with one-of-a-kind wooden and tin instruments and oozing with the bizarre stage presence that has earned them a cult following throughout the country. The crowd surged forward, ready for the cosmic rhythms.

Orchestra of Spheres and Lady Lazer Light. Valhalla, June 2014.
Orchestra of Spheres and Lady Lazer Light. Valhalla, June 2014.

As Lady Lazer Light sprayed forth her kaleidoscopic beams and the Spheres chanted a mantra about iPhone chargers, the sensorily satiated crowd swayed shoulder to shoulder as one, united by a brilliant display of colour and sound. If the desired effect was group hypnosis – they certainly succeeded.

The show was a spiritual experience for the city – the buzz around Valhalla, the friendliness and happiness of all the people who had come to celebrate and support, it was a truly magical night. Orchestra of Spheres and Lady Lazer Light were the gems in Wellington’s creative crown, and we all bowed down in ecstasy.


Around the middle of last year, things really started to fall into place. I was emailing Dan from the Spheres on an almost daily basis and we were gradually putting together the pieces for a national China tour. The dream was coming to life, everyone was excited.

KIWESE: “Are you guys bringing Lady Lazer Light?”

DAN: “Erica Sklenars is going to be in Beijing for three months on an artist residency!! So we’ll bring her along for the trip.”

KIWESE: *faints*

Last year, Erica was selected as the Wellington Asia Residency Exchange (WARE) artist-in-residence at Red Gate Gallery in Beijing, a programme jointly run by Asia New Zealand and the Wellington City Council. Visual artist/zine overlord Kerry Ann Lee and punk photographer John Lake are previous recipients of the grant and have both previously featured on Kiwese.

Kiwese had the privilege of working with Erica on several projects around China, including the epic Orchestra of Spheres x Lady Lazer Light China Tour, a techno party in a Feijiacun BBQ shack, an impromptu music video shoot with Kunming disco-punks South Acid MiMi Dance Team and a VJ show for Lost in Space at .TAG, an electronic music club on the top floor of one Chengdu’s tallest buildings.


The morning after the second Orchestra of Spheres show in Beijing, I awoke with a heavy hangover to find Erica passed out on the couch at my friend’s tiny flat in Beixinqiao, wrapped in her screen as a blanket and surrounded by noodles of projector cables and chargers. A Lady Lazer Light bomb had exploded in the lounge and ground zero was beautifully chaotic. This chick is crack up.

Despite being a fan of her work for years, I’d actually never met Erica Sklenars before she arrived in Beijing last September.

During my time with her in China, through all the madness, set-ups, pack downs, instant noodles, Jingjiu, overnight train rides, WeChat frenzies, gaffer tape, raves, laughs, cries and hangovers, she became a very dear friend, one who I have enormous respect and admiration for as an artist, improvisor, communicator and genuinely wonderful human being.

I am so pleased to finally feature her here on this humble blog.

Lady Lazer Light and Kiwese. Dali, Yunnan, China, October 2014.
Lady Lazer Light and Kiwese. Dali, China, October 2015.

KIWESE: Sup Sklen, how’s it going?

SKLENARS: Fab!

As Lady Lazer Light, you’ve been a staple visual collaborator in Wellington for many years. Can you tell us a bit about your current set up in Dunedin?

I’ve been living between Dunedin and Wellington a bit this year with various projects, but I’m technically based in beautiful Port Chalmers, Dunedin, living and making work in Chick’s Hotel.

What’s the deal with Chick’s Hotel at the mo?

They closed a couple of weeks ago, went out with a bang with a number of awesome farewell gigs, including Shifting Sands and The Clean sending us off on the final night.

I’ve been away since then, but word on the street says there is a killer recording studio developing downstairs…

You were based in Wellington for many years, how have you found the transition to Dunedin life? My only experience with the music scene on my trip there was a seedy late night karaoke bar, where I realised Seven Days by Craig David is actually really hard to sing.

Haha! I have only encountered YouTube karaoke down there… but may have heard something about such bars.

I’m finding it quite different, a bit more chill, a good place to reflect on my practice and on my high-energy, chaotic last few months of travel.

There are some really cool things happening there in the music scene, some awesome new and old bands, I’ve had a lot of opportunities to collaborate and perform. There is actually some REALLY great music happening there at the moment.

You’ve mentioned Élan vital before. Could you name some other acts you’re digging in Dunedin?

Yes, Élan vital are super awesome. A member from that band is also in Death and The Maiden, who I have worked with in the past and they rule. Another member has started an awesome band called Terrified. There are so many I love… Astro ChildrenOpposite SexEmbedded Figures, I’m missing some out I know.

I collaborated with Repulsive Woman recently, she played alone outside an old Free Mason Lodge and the audience watched/peeped on her from inside through a camera obscura I constructed. She plays One Direction covers.

You were in Beijing for three months and really thrived in it. Do you have any favourite spots for music and art in the city?

I:project Space is a super awesome artist run space. I went to a few cool events at Aotu Studio 凹凸 for art/book launch/music.

For music – School, Dada and Temple!

What do you miss about China now that you are back in NZ?

I miss the food of course! I loved it all. I miss being able to order a bunch of different dishes – I’m terrible at making decisions on menus.

I miss always having an exciting new place to go! There’s one particular dish I would get that was kind of an omelette thing with sprouts and noodles, it was soo good for late breakfasts. And the shredded potato!! So good.

I miss the friendly faces around where I was living, going on adventures through different villages to find art supplies, taking several forms of public transport to go somewhere, the amazing friendly people I would meet that would extend so much help and kindness despite us not speaking the same language.

Lady Lazer Light at the Poop Clothing Mall. Beijing, September 2015.
Lady Lazer Light at the Poop Clothing Mall. Beijing, September 2015.

The Spheres tour was so bloody fab. Do you have a particularly standout gig?

Too hard to choose! I loved the BBQ party in Feijiacun because that was in the community I was living in.

I loved the NUART Festival in Chengdu and the after party at Zaoshanghao, so much fun! I loved every city and show for different reasons, I can’t pick a single fav. I really want to come back and I’m working on some plans, watch this space!

When can we expect to see the South Acid MiMi x Lady Lazer Light music video?

Soooooon!

What would you say to other artists wanting to visit China?

Do it, it’s an awesome place to tour as a band and to make art.

Chur girl, you Sklegend!

Still of Erica and a fan in Chengdu from the upcoming Orchestra of Spheres: Te China Rockumentary series presented by Kiwese in early May.
Erica and a fan in Chengdu – a still from the upcoming Orchestra of Spheres: Te China Rockumentary series set for release in early May.


 

Erica will be speaking in Wellington tonight and tomorrow:

P-LAB: LADY LAZER LIGHT
/////////////////////////
Time: 7:00pm | Wed 13 April 2016 
Location: Pyramid Club
 272 Taranaki Street, Wellington, New Zealand 
Koha entry

For her P-LAB session, Erica will be delving into her world of projected visuals and speaking about her recent 3 month residency in Beijing on the Wellington Asia Residency Exchange.

The Pyramid Club is run by the Sound and Exploration Society.

Read more at the Facebook event page.


International Connections: An artist residency forum
Time: 5.30pm – 7.30pm | Thu 14 April 2016
Location: Adam Auditorium, City Gallery
101 Wakefield St, Wellington, New Zealand
Free entry

Hear internationally acclaimed visual artists speak about their practice and residency experiences in a panel discussion chaired by Courtney Johnston, director of The Dowse Art Museum. The artists – Marc Brandenburg, Etienne de France, Erica Sklenars and Sian Torrington – will share their work and their thoughts about the world versus Wellington.

Berlin-based Brandenburg is the current Goethe-Institut Artist in Resident at the Bolton Street Cottage; Etienne de France, from Paris, is the Massey University Artist in Resident staying at Te Whare Hera; and Erica Sklenars and Sian Torrington are both Wellington-based artists recently back from Asia.


Read more about Erica’s time in Beijing here!

Stay tuned for more from Lady Lazer Light on Kiwese!

http://www.ericasklenars.com

VIDEO: Shocking Pinks | Interview + ‘Smoke Screen’ in Beijing 视频:震惊粉红色|在北京采访和现场


About a month ago, atop a sunny, slightly crumbling rooftop along a Beijing hutong, Kiwese caught up with Nick, Ash and Cory from Shocking Pinks ahead of their shows in China and beyond.

Check it out in the very first episode of Kiwese TV, along with a blitzing version of ‘Smoke Screen’ live at School Bar!

大概一个月前,在一个北京胡同的有一点破的太阳舞台,奇异思给Shocking Pinks的Nick, Ash 和Cory采访。在奇异思第一集看采访和在北京学校酒吧演的《Smoke Screen》!

Nicks' Recommended Films:
  • Le Ville des Pirates (Raoul Ruiz)
  • The Tarnished Angels (Douglas Sirk)
  • Colour of Pomegranates (Sergei Parajanov)
  • Cowards Bend the Knee (Guy Maddin)
  • Toute une nuit (Chantal Akerman)
  • Accattone (Pier Paolo Pasolini)
  • Taste of Cherry (Abbas Kiarostami)
  • Les salauds (Claire Denis)
  • On Dangerous Ground (Nicholas Ray)
  • Blackhat (Michael Mann)
  • The Tribe (Myroslav Slaboshpytskiy)
  • Goodnight Mommy (Veronika Franz)
  • Tokyo Twilight (Yasujiro Ozu)

Check out www.alowhum.com for more tour dates.

Initial excitement pre-Shocking Pinks in China here.

Shocking Pinks head for China! 震惊粉红色来中国!

Ten years after their maiden tour, Christchurch’s multi-instrumentalist, DJ and lo-fi king Nick Harte aka Shocking Pinks is once again pairing with New Zealand house(party)hold name Ian Jorgensen aka Blink to celebrate the re-release of his 2004 debut Dance, the Dance Electric with a three month A Low Hum world tour, including shows in both China and New Zealand!

将近十年前,来自基督城的多乐器演奏者,DJ和低保真大师Nick Harte也称为震惊粉红色跟新西兰家喻派对的名字Ian Jorgensen 人称Blink一起去做他们的处女巡演。今年,震惊粉红色将由在A Low Hum重新发行他2004年的首张专辑《Dance, the Dance Electric跳舞,跳舞电子》,而且要去大规模国际巡演,包括中国和新西兰站! 

Shocking Pinks is a one-man band formed by Nick Harte in 2002. Following a long hiatus from releasing music, Harte returned stronger than ever in March last year with his triple album Guilt Mirrors on Stars and Letters, a Brooklyn-based label that may ring bells for fans of Wellington’s (sorely missed) Black City Lights (R.I.P). Guilt Mirrors echoes the solitude that accompanied the traumatic 2011 earthquakes in Harte’s hometown.

早在2002年,Nick Harte成立他一个人的乐队:震惊粉红色 。随着几年的中断,震惊粉红色回来了比以前更强烈的,去年3月在布鲁克林独立唱片公司Stars and Letters,惠灵顿 已解散的Black City Lights的粉丝应该知道这个唱片公司,发行了三重专辑《Guilt Mirrors罪镜子》。 这个专辑录音了他2011年基督城地震发生的创伤事件和孤独。

Back in 2004, just a year after Myspace was born, Harte released his debut album Dance, Dance the Electric on Pinacolada Records in Christchurch, a small indie label that housed other well-loved acts such as Pig Out and Tiger Tones. Upon positive reception from NZ and international listeners, the Shocking Pinks signed to Flying Nun and released Mathematical Warfare and Infinity Land in 2005, before ditching the ‘The’ and releasing the self-titled Shocking Pinks in 2007 with New York-based DFA Records, run by James Murphy of LCD Soundsystem.

During the long empty space in between and his explosive return to the scene in 2014, Harte’s debut has become a rare and highly sought after record that is longed for with the same collectable reverence as an ancient museum artifact among his international following of lo-fi bedroom dwelling discopunks.

Murmurs of a re-release a few years back on Flying Nun remained unfulfilled, but now in 2015, Dance, Dance the Electric will be re-released on A Low Hum, with an epic international tour and an awesome live band from Wellington to boot!

在2004年,Myspace创建一年后,Nick Harte以 ‘The Shocking Pinks’ 之名由基督城Pinacolada Records发行了首张专辑《Dance, the Dance Electric跳舞,跳舞电子》,但现在这个小唱片公司和它原来的乐队Pig Out 和 Tiger Tones已经看不见了。这张专辑受到了新西兰和国际听众的高度评价后,他和Flying Nun签约,然后2005年发行《Mathematical Warfare数理战争》和《Infinity Land无限地》。2007年时,他由纽约LCD Soundsystem的James Murphy管理的 DFA Records发行了同名专辑《震惊粉红色》。

从他长期的潜伏到他2014年爆炸的归来,他首张专辑《Dance, the Dance Electric跳舞,跳舞电子》已经成为一张十分稀罕的被国际迪斯科朋克粉丝渴望着的唱片,收藏价值就像一个古代的藏品。

几年前有传闻Flying Nun会重新发行这首张专辑,结果没有。可是,今年《Dance, the Dance Electric跳舞,跳舞电子》将由在A Low Hum 重新发行,而且震惊粉红色跟他了不起的乐队要去做全球巡演!

Then there were three. Image from A Low Hum.
Then there were three. Image from A Low Hum.

Shocking Pinks live shows have been few and far between in recent years. Last year I was lucky enough to attend the Guilt Mirrors album release gig at Puppies in Wellington (R.I.P). It was an incredible show, with the new Shocking Pinks live band lovingly tossed together with locally sourced ingredients from Secret Knives and a Wellington drumming powerhouse, coming together to form the crunchiest, most perfectly seasoned dish imaginable.

Harte’s crying wails of amplifier feedback swum beneath echoes of bare lyrics decoded from his piles of A4 paper. The Shocking Pinks sound came to life with warm, pulsating bass lines, syncopated cow bell rhythms and razor sharp jazz-precision of the drums.

Both intimate and mesmerising, powerful and confronting, it seemed Harte had completely reinvented his sound and performance style since I first saw him at Camp A Low Hum in 2010. After the show, I immediately set about hunting down the pink vinyl release, eventually tracked down at good ol’ Slow Boat Records.

最近几年震惊粉红色的演出并不多见,所以我去年有幸参加《Guilt Mirrors罪镜子》专辑发行演出在惠灵顿的“小狗”(Puppies)。这个演出棒极了,他新建的现场乐队包括来自惠灵顿的Secret Knives乐队成员和一个又熟知又强大的鼓手。他们三个在一块正合适,像一个很脆爽有完美调味的美食。

Harte的刺穿耳膜放大器的反馈和从几堆纸唱出来的精简歌词融合在一起,夹杂着激情四射的贝斯节奏,切分的牛羚律动和尖锐的鼓点,震惊粉红色的声音就活跃起来了。

这个演出即亲密又迷人,观众面对强大的声场,跟我第一次看到他在2010年Camp A Low Hum音乐节现场时已经完全改变了。演出之后,我马上开始搜索粉红色的黑胶唱片,到底在Slow Boat Records买到了。

Shocking Pinks…Is it shoegaze? Is it lo-fi?

It is dance music. Deliciously hypnotic dance music.

震惊粉红色是什么风格?是自赏,还是低保真?

就是舞曲。了不起的迷幻舞曲。

Can’t wait! See you at the Beijing show.

超级期待,在北京见!

Shocking Pinks NZ/China Tour Dates 2015:

Goodbye, New Zealand! 再见新西兰!

8月28日 Aug 28 – Whammy Bar, Auckland 奥克兰

9月5日 Sept 5 – Puppies, Wellington 惠灵顿

China 中国

9月17日 Sept 17 – Dada (DJ Set), Beijing 北京
9月18日 Sept 18 – School, Beijing 北京
9月20日 Sept 20 – Echo Park Festival, Shanghai 上海
9月22日 Sept 22 – Loft345, Guangzhou 广州

New Zealand 新西

11月27日 Nov 27 – Darkroom, Christchurch, NZ 基督城
11月28日 Nov 28 – Chicks Hotel, Dunedin, NZ 达尼丁
12月   3日 Dec 3 – The Lyttelton Coffee Co, Lyttelton, NZ 利特尔顿
12月   4日 Dec 4 – Barrytown Hall, Barrytown, NZ
12月   5日 Dec 5 – Tim’s Place, Marahau, NZ 玛拉豪

See the full tour dates here on A Low Hum.

情点这里

Vinyl Destination: Interview with Cian O’Donnell from Conch Records

In this content-saturated Internet age of free digital downloads and infinite streaming, Cian O’Donnell is among those still repping the power of wax over at his well-loved shop Conch Records, which has been spinning records in the City of Sails for the best part of two decades. Kiwese caught up with the voice so familiar to George FM listeners ahead of his upcoming vinyl DJ sets at JUE | Music + Art Festival in Beijing and Shanghai next week.

KIWESE: Hey Cian! You are coming over to China next week, how did the connection with Lost Cargo and JUE Festival come about? CIAN: I met a lass called Olivia at Conch in Auckland last year. She never really told me what she did back home, but she’d come in, buy records and listen to a whole bunch of stuff in store, then came to one of the monthlies we organise called The Turnaround. Before she left, I invited her up onto my radio show [Earshot on George FM] to play a selection of young, fresh, Chinese beat makers. The stuff she brought up was so good! We got really good response on the text lines, so talked about doing some kind of collaborative promotion of artists in China and over here. Awesome! Who is she? Shanghai local? She is a promoter for The Shelter in Shanghai – which I’d heard about through people I know that have played there. It’s an old underground bomb shelter, definitely Shanghai’s underground (for use of a better word) alternative club, where different promoters come on and do different evenings, from hip hop to electronica to trap, footwork and whatever, with artists from James Pants to Kode9 and so on.

Listen up Beijing & Shanghai! Poster image from Wooozy.cn.
Listen up Beijing & Shanghai! Poster image from Wooozy.cn.

With JUE I’m gonna be speaking on a panel of four people, including Awesome Tapes from Africa, discussing the importance of communities that grow around important around music-related blogs, venues or events.

“A record shop is more than just a standard retail space – it ends up being a hangout, a communal meeting spot. Bands are formed, friends are made, gigs are staged.”

Can you tell us about the early beginnings of Conch Records? Living in Auckland in the mid ’90s, I was getting tired with finding the same records in every shop. So I started doing small orders with some of the distributors I used to work with overseas, mostly from Europe, then a friend who started the Aotea Square Markets approached me about doing a stall. I used to take down my turntables, two or three crates of records and a suitcase of CDs. It was a real success. After that, my now partner in Conch, Brent Holland, took a space in an old arcade on High Street, fitted it out with everything handmade timber and made it look amazing – it looked like a big packing crate. We stocked a really good alternative selection of Jamaican 7″s, independent hip-hop, quirky house, reggae, Brazilian, Latin… But although it was really loved and respected, it never really made any money. So we started looking for a bigger premises with more foot traffic. At our current premises on Ponsonby Road, it started with a small coffee shop and a few seats out front. Now we’ve managed to expand with a courtyard out back, its licensed and the whole bar and restaurant aspect has kind of overtaken the record store. This year the plan is to get back on track with the retail side. I’ve had the pleasure of going to Conch and thought the food and service was great. Do you think the gentrification of Ponsonby has resulted in a shift in focus from selling records to providing a dining experience? In some respects if we had opened up Conch right from the start eight years ago as a café/restaurant/bar, we would’ve smashed it. Because now, as you say, the whole area has been gentrified and there are just so many restaurants, cafes and bars competing along that whole area. The only reason we have recently changed focus is because we weren’t able to survive solely selling coffee and records.

“You hear all these stories about the resurgence of vinyl and the rest. Yes, maybe in a city of 20 million people where there is a history of vinyl; London, Tokyo, New York

But in little, old Auckland, where Serato was invented and where people like supporting homegrown products, more and more vinyl buyers are going digital.”

In saying that, all of Conch’s biggest sellers have been local releases. Our biggest selling 12” was Manuel Bundy’s Solephonic EP, we must’ve sold about 150 copies. We’ve also sold a lot of local 7”s. There is a label in Japan called Wonderful Noise which have signed up the crème de la crème of New Zealand beat makers. kitchen-slider-slide-3

Drool worthy meals from the Conch menu. Image from Conch.co.nz.
Drool worthy meals from the Conch menu. Image from Conch.co.nz.

You are originally from Hereford, England, how did you end up in New Zealand? I ended up here by mistake actually [laughs]. I was backpacking and travelling around when my visa in Australia was set to run out. That was 1988. I only had enough cash left to get to New Zealand and I had a contact in Wainuiomata. It was raining the whole time and I thought “what the hell am I doing here!” I managed to get a full time job at the old EMI store, where Rex Royale is now on Cuba Street, and got to meet Matt Poppelwell, one of the main DJs around town, who introduced me to what seemed like a third of the population of Wellington [laughs]. A lot of DJs will say they ‘play everything’ and that they are really eclectic, but this guy Matt really was. What were your initial impressions of the Wellington club scene in 1988? It was a bit scary [laughs]. If you went to a standard club, people were still listening to white boy electronic music like Depeche Mode, New Order and Fine Young Cannibals. I left just when the whole Acid House era kicked off in the UK. When I got over here, it still hadn’t really hit. So I would go with my Polynesian mates to some of the Poly clubs – they were playing modern RnB, Brit soul, American street soul… I loved those clubs. Much more black orientated than my white honky roots [laughs]. I grew up listening to Tamla Motown and that. What made you want to move to Auckland? The first time I came to Auckland I met a bunch of people who ran Planet Magazine and they really became my family over here. When I was over in London in the mid ’90s, they called me up and asked me to be the resident DJ in the space we used to live in for a new venue they were starting – the Khuja Lounge. This is back when Auckland was a much more interesting city and people used to live really interesting inner city spaces.

“We had the whole third floor on the corner of Queen Street and K Road for $50 a week.

There was nothing like it. We had old Indonesian furniture, a massive communal weaving table with scattered cushions around it. I’d start at 8pm and play till about 4am, Wednesday to Saturday. For any real DJ, that’s your dream gig, man. On the same floor, we’d opened up a talent agency called Saama Productions, which specialised in signing people from indigenous backgrounds. As a result, the Khuja was a real melting pot of all different styles and characters – everybody from models, actors, comedians and dancers were there. For about three or four years, we smashed it. It was the most enjoyable place I’ve ever played.

Image from George FM.
Selector and collector. Image from George FM.

Right now, Auckland could do with more…? Hmm… People that go on out and play more of a variety of music and take more risks. Venues that actually take time money and effort to put in proper sound systems and maintain them. Less of these kind of Pack Group bars and Mac Brewery Bars, with the same kind of soundtrack, the same kind of crowd. I don’t know if it’s the same in Wellington, but Auckland just feels like it’s been totally whitewashed. It feels like it’s the North Shore and Hamilton transplanted into the city on the weekend… Nowadays people become DJs overnight when their mate gives them a USB stick with 5000 records on it, with no experience or knowledge of any of the music… No time into digging, or money. Everyone’s a bloody DJ nowadays. What are you expecting from your time here in China? Never been to China before, I’ve always wanted to go. I fly out Tuesday night. I really hope this is the start of me being able to come out more regularly. I’m looking forward to everything! Shanghai sounds like such a crazy mix of the modern and old. I love big cities and what they have to offer and the whole energy. Any favourite Chinese beats at the moment? Favourite vocalist out of China is a lass called ChaCha. I’m not sure who is making her beats, but she rules! Favourite locals? Local stuff, whew! Coco Solid, Lord Echo, Julien Dyne, Electric Wire Hustle, Christoph El Truento, my mate Submariner, Stinky Jim (who doesn’t release stuff), Lawrence Arabia… so many, theres a lot of good music coming out of New Zealand! Chur Cian, hope you enjoy Shanghai and Beijing!

logo Read more about Conch Records, Cafe, Bar and Restaurant www.conch.co.nz Check out Cian’s weekly show Earshot Radio on George FM www.georgefm.co.nz | Every Sunday 10am – 12noon (NZ Time) The JUE Music + Art Festival program is here Next week Cian will play at DADA Beijing on Friday 13th March, followed by the Shelter in Shanghai on Saturday 14th!

Electronic Music with Chinese Characteristics: Interview with Howie Lee

It’s 1.23pm and Howie Lee has just woken up. He’s in Taipei right now working on his debut album, following a mega productive few years for this Beijing beat producer, producing a swag of EPs, party starting with his collective Do Hits and receiving sub woofing kudos from the likes of Gilles Peterson and Brainfeeder for his unique brand of guzheng, 808, bong-infused Chinese bass. Jah!

Kiwese spoke to Howie through the magic of WeChat voice messages ahead of his show with MIST in Chengdu. image

KIWESE: Hey Howie, you’ve decided to work on the album in Taipei instead of at your studio in Beijing?   Continue reading Electronic Music with Chinese Characteristics: Interview with Howie Lee

Enter the lounge with Kerry Ann Lee

Kiwese got to hang out with multi-media visual artist, designer and punk enthusiast Kerry Ann Lee at her cozy abode in Mount Victoria, for a rainy afternoon full of LPs, books, ornaments, coffee and fresh cream donuts.

Screen Shot 2014-07-29 at 10.40.31 am

Hey KAL! Tell us about the upcoming exhibition you are involved with in Auckland?

Its called Unstuck in Time, it’s a group show with a bunch of artists curated by Bruce E. Phillips at Te Tuhi Centre for the Arts. The exhibition takes its name from Slaughterhouse Five by Kurt Vonnegut and looks at the ideas of dislocation in time in space.

What was your childhood like, growing up in Welly?

Ahh, 1980s Wellington. Yeah. Pretty quiet. I’m the oldest of three, have two younger brothers. I lived in Hataitai most of my childhood and we went to St Mark’s. My parents had the Gold Coin Café takeaway at the top of Willis St, which was the focus of the project I did last year for Enjoy. It was a strange project, returning to that space before they tore it down – the back of the shop was a big extension of my home space growing up.

Home Made Installation.
Home Made Installation (2008), Toi Poneke Gallery. “I find a lot of descendants from migrant families in NZ get this piece – they understand it because its similar in their families – collecting and hoarding random junk as a form of stake hold in settlement.”

My Por Por and Gong Gong were involved with setting up a bunch of early Chinese restaurants in Wellington in the 40s and 50s, such as The Canton. My parents’ era was The Shanghai in the 70s. They were extremely minority; heads down working class, you will get that story from so many people and elders; it has shaped the way the community is in many ways.

What are your memories of growing up between school, home and the Gold Coin Cafe?

There was a diverse clientele that used to come to the Gold Coin. As my mum said – “Upper Willis St, Mongrel Mob, skin heads, white collar workers from the Government departments.” For me as a kid, it was more of a quiet observation of these interactions. It’s funny being back in Wellington now because it is heaving with food! Yet this quiet little legacy of original stakeholders remains in the city and Newtown, not just the Chinese community, but the coffee houses and takeaways run by Greek families as well.

Throwing back the familiar, but with a twist. I like the idea of questioning comprehensions.

Restaurants (2007). Image from the artist.
Restaurants (2007). Image from the artist.

The symbol of money comes up quite a lot in your collage. Kiwi bank notes, Queen Elizabeth’s face. 

When I was a kid, I used to count the money at the end of the night. My uncle sent my a five pound note from England when he moved over when I was a kid – it had a picture of Queen Elizabeth and he had pencil sketched it with a big gang fist, spiky bracelet and a punk stud. And I thought “woah, you CAN do that with money!”

Where did you interest in paper cutting stem from?

Initially it came from a love and active interest in collage and punk poster graphics, record art, Dada and a lot of that historic use of montage. I learned the more elegant, craft aspect of Chinese paper cutting later on. I like that punk and Dada were more about upsetting popular imagery, a transformative reconfiguration of paper cutting to both reveal and take away.

Kitchen Universe (2007). From KAL's Masters thesis.
Kitchen Universe (2007). Image from KAL’s Masters thesis and Home Made book.

“My mum was born and raised here. She still gets the where are you from?’ She’s got a good way about it,  Made in New Zealand, with ingredients from China!'”

Your work often works to subvert expectations of local, familiar symbols and those of your own Chinese background. 

People have different views on it. The ‘oh, it is such a shame’ view which puts the onus on the family to maintain and preserve a rich, heritage culture like pickles in a jar. Then there is also the pressure for a family to assimilate and normalise and do the best they can. But when you assimilate – only bring the desirable qualities into the mainstream space, the ones that could be creative and colourful to add flavour, but not too much tension or dynamic.

Screen Shot 2014-07-28 at 10.07.53 pm

[K.A.L leaves the room and returns with a copy of Home Made: Picturing Chinese Settlement in New Zealand, the book she made for her Masters in Design at Massey]

Oh. My. God. I don’t even. Woah. *implodes*

Home Made and a written thesis were the product of that year. It was fifty hardbacks and 100 soft back editions. There are a few things in there that people found kind of useful for research in many respects. The Chinese legacy in New Zealand isn’t read and taught like the ‘colonial founders’ of the country, but credit to James Ng and all the incredible work he has done with Windows on a Chinese Past. It’s insanely cool. It’s hilarious cos it’s so hefty, but so underground.

I recall John Lake mentioning your name during an interview about Up the Punks, tell us about your interest in music?

Lake! Music in a similar way to art, it is so immediate and evocative, immediately transports you to other places and times. Punk, mix tapes, that sense of discovery. It is a form of communication, not just the music itself but the format. How music travels, how art and words move from one place to another, how they affect different people, how they are read, translated and misunderstood.

“I’ve always had music in my life – from always having the radio on and having a Gong Gong that could sing.”

Poster for PUNK FEST 1999 designed by Kerry Ann Lee. Image from the Up the Punks archive!
Poster for PUNK FEST 1999 designed by Kerry Ann Lee. Image from the Up the Punks archive!

Growing up in the 80s it was super pop. I will listen to anything. I’m a big John Cage fan… but I also listen to Crass, Screamin’ Jay, Weezer, Nina Simone… My friend Julia in Milan sent me a bunch of records that she put out on her label Vida Loca Records, [puts on a record]. There is whole lot of crazy shit in here. Backyard Burial to the Breeders, to Shanghai Lounge DivasTom Waits, Hanggai, ESG

You’ve been to your family’s village in Guangdong, how was that?

My uncle drove from the city and we went way out into the sticks… it was so rural. This place didn’t have roads. Or shoes. It was a total world culture clash. You feel like the prissiest, stupidest, foreign alien. Transplanting myself back into that space was probably the most quiet, reflective time of my life.

KAL feat. the Haibao mascot that covered Shanghai during the World Expo 2010. Photo courtesy of KAL.
KAL feat. the Haibao mascot that covered Shanghai during the World Expo 2010. Photo courtesy of KAL.

At Te Papa’s China in the Pacific Forum, you talked about doing the WARE Residency in Shanghai in ’09 during the city’s preparation for the 2010 World Expo.

What an exciting time to be introduced to China and spat out the other end! The immenseness, the space, the ocean of black hair. This place with weird buildings, twenty million people moving really fast on motorcycles, smoking, ploughing into you drunk and peeing on the street. Wonderful, maddening, dirt covered chaos – that’s whats writhing under the skin of all this gorgeous, sparkly brand new mega city facade.

“In China, things are magnified. A lot of our understanding of Chinese heritage is completely different to what goes on over there.”

I found myself always writing journals and letters home, drawing and documenting to try and take it all in, but the definitions and descriptions don’t matter after a while. My neighbours used to sell illegal tofu jerky from a store in their house, I used to knock on their door and buy my weird snacks. One time my bus stop turned into a pile of rubble. I just went with the flow.

Check out KAL’s video work ‘Shanghai Shorts,’ filmed from her mobile office at the back of the Baoshan bus.

KAL shanghai-works-lg

Big City Rising. Image from Ocula.
Big City Rising. Image from Ocula.

How did these perceptions influence the works in Da Shi Jie/ The Great World: Shanghai Works 2009-2010 [大世界:2009-2010 创作于上海] which you exhibited at Toi Pōneke upon your return?

Destruction, loss, fragility, the beautiful stuff that Westerners find fascinating because it is happening there on a local, day-to-day administrative level. It kind of oscillates between the two China narratives of doom and gloom vs. China is great! Modernise! This is 21st century Empire building!

Did living in the outskirts of a bustling mega city like Shanghai change your perceptions of your own ‘Chinese-ness’?

I’m not a very good Chinese [laughs]. I was actually terrified when I first got the WARE Residency – like, oh fuck – I have never been to China, I can’t speak Chinese, but I am Chinese, how the hell is this gonna work?! Being over here you in New Zealand you are visibly different, especially growing up. Over there I would be outed in a second if I was trying to mimic a bit of basic Chinese, it was an immediate fail. I felt really undercover over there. I feel it reinforced my other identities – of being into punk rock, sci-fi, the privileges and pitfalls of being a Westerner.

“Another analogy I heard from somebody over there was ‘same hardware, different software.

Double Dragon (2012), Commissioned by Enjoy Gallery for the Wellington City Council's Light Box Project.
Double Dragon (2012). “I was quietly stoked about this one because I managed to get a Chinatown archway in Courtenay Place. These small things within Council perimeters.”

Do you ever feel obliged to tell a Chinese story in your work?

Just my own. You cannot disconnect yourself from where you come from, your community, family and life – but in the end, your pursuit of truth and storytelling is what you’ve lived through. Your choice of fictions, dreams, truths. It’s all up for grabs. People often touch it with kid gloves, the idea of connecting with a heritage culture while not wanting step on anyones toes, or aiming for a sense of ‘authenticity.’ People should create new understandings of that, of what is real, what is authentic for you.

“Things aren’t always clearly defined, things are murky and weird and terrifying and messy and splendid and hard.”

What are you reading at the mo?

I recently read Slouching Towards Bethlam by Joan Didion. Now I’m reading some short stories by Italo Calvino.

What are you listening to at the mo?

Random classics. $1 discount CDs. Got a great $4 Buddy Holly CD from Grayson for my birthday. This mix I made for Stevie Kaye.

Anything you recommend people check out?

Any advice for aspiring artists?

Trust yourself! Don’t listen to anyone else. Be okay with the fact its hard going – it’s part of the delight and sweetness. It’s okay not knowing, but still doing. You are only answerable to yourself. Do the don’ts!

Thanks Kerry Ann, you da man!

Catch Kerry Ann Lee speaking at the Working the Gap Symposium presented by The Adam Art Gallery, as part of their series of free public events exploring art writing now in Wellington, Sat 9 Aug.

For Aucklanders – Unstuck in Time will be on at Te Tuhi from 2 August – 26 October.

kal feiyue