Saturday, December 12, 2009
Artist: Wong Chung-fai
Sound Walker (16:32)
Composed, performed & mastered by Wong Chung-fai
An imaginary sound walk based on field recordings taken at Central and Kwun Tong, Hong Kong
Photography by Wong Chung-fai
Cover design by niuniutu at I/A Studio
C 2009 Wong Chung-fai
P+C 2009 GiN Label
GiN007 Made in China
Listening at: www.myspace.com/ginlabel
ISW is a series of Imaginary Sound Walk based on field recording materials.
In this first release, an imaginary journey was constructed based on field recordings taken from Central, Sheung Wan and Kwun Tong in Hong Kong.
This sound work was originally composed for Lee Chi Leung’s book “Room”. The journey is about a shamanistic search for the lost soul of the sick.
In shamanism, it is believed that people get sick because they lost their soul, and it is the shaman’s job to rescue their lost soul from the underworld.
Friday, December 11, 2009
A sound installation of documentation & exploration on Graham Street and Central Wet Markets.
In conjunction with Graham'Super by Urban Rethink Tank at 2009 Hong Kong & Shenzhen Bi-city Biennale of Urbanism/Architecture.
2009 Hong Kong & Shenzhen Bi-city Biennale of Urbanism/Architecture4/12/2009 - 27/02/2010West Kowloon Waterfront Promenade
Sound design by No One Pulse + Alok
(Photo by Edwin Lo)
Tuesday, November 10, 2009
Sunday, November 08, 2009
Sunday, October 11, 2009
Art & Culture Outreach (ACO)
1/F, FooTak Bldg, 365 Hennessy Road, Wan Chai, Hong Kong
Kubrick – B.C.
Shop H2, Prosperous Garden, 3 Public Square Street, Yau Ma Tei, Kowloon, Hong Kong (inside Broadway Cinematheque)
G/F Hong Kong Arts Centre, Wan Chai, Hong Kong
White Noise Records
1/F., 4 Canal Road East, Causeway Bay, Hong Kong (close to Times Square and Canal Road Flyover)
Shop B31, Sino Centre, 582-592 Nathan Road, Kowloon, Hong Kong
D06-6-3, 798 Art District, 2, Jiuxian Qiao Rd., Chaoyang district, Beijing
(opposite Galleria Continua)
Sun Ye Drinking Room
Lamma Temple-No.52 WuDaoYing Alley, Beijing
CPAI Art House
1722 NE Alberta St., Portland, OR 97211-5802, United States
Flughafenstr. 38, 12053 Berlin
604. Daikan Plaza Bizness
Shinjuku-Ku, Tokyo, 160, Japan
7-1-7－721,#A, Nishi-Shijuku,Tokyo,160-0023 Japan
P.S.F. Records (Modern Music/G-Modern)
Setagaya-ku, Tokyo 156-0043, Japan
Do check out www.records.com for more details and audio samples.
Feel free to join our facebook group to get the latest update, releases and events annoucement:
Notch09 Guangzhou steps three nights of Nordic frenzy, from the eclectic beauty of techno Ambient, to bubbling electronica, and to inventive geeky fun. No more identity crisis- at least one of your multi-selves can identify with this exclusive Nordic festival in town.
I. Project Aurora
Wed. Oct. 28. Biosphere(Norway) /Food(Norway) /MoHa!(Norway)/ VJs Notch 09 Guangzhou opens with a sensual exploration of the modern arctic ambience. The audio-visual feast contains a most diverse cast of electronic ambient, catering for every one of your five senses. Now forget about work, sink with us into a timeless abyss of sounds and float your soul elsewhere. Id-entities: adventurer/drifter
Last year DBG put on quite a show at SOUND FROM MONSTER. Now the same crew is casting new sounds in celebration of the nordic attack. Fresh vocals and crispy electro will together play up the very local CH part of NotCH.
The Pancakes(Hong Kong)/ Secret By(Guangdong)/ Modern Children(Hong Kong)/ YuFeiMen(Guangdong) / Zhaoze (aka. The Swamp) (Guangdong)
II. Project Beats
Fri. Oct. 30. Rumpistol(Denmark)/ Vectral(Denmark)/ Ost & Kjex(Norway) For one night only Guangzhou’s Sapphire morphs into a throbbing Nordic dance floor. The recklessly quirky pulse echoes the age of retro disco, fused with a funky house groove. Psych up, dress up, tune up, and style up your wild self.
Id-entities: danceholic/ fashionista
III. Project Cult
Sat. Oct. 31. Sin:Ned (Hong Kong)/Snöleoparden(Denmark)/ La Belle Indifference(Denmark)/ Morten Riis(Denmark)/ Eero Johannes(Finland)
Pumpkins and skulls are off the Halloween scene – the edgy techno gurus have replaced them with sequencers, synthesizers, self-invented programs, Nintendo sound effects and all sorts of digital gadgets to toy with. Trick or Treat and ghostly madness are still on the menu.
8:00pm 10.28- 10.31, 2009, Sapphire Art Space
Add. 2/F Holiday Inn, No.28 GuangMing Lu, Huanshi Dong, Guangzhou
Tickets: 160 RMB (walk-in)/ 120RMB (reserved)
VIP Tickets: 280 RMB (walk-in)/ 200RMB (reserved)
*VIP Tickets gift sets for NOTCH 09 SET Deign by Guangzhou
2.email reservation: firstname.lastname@example.org
3.PLAYGROUND (2/F, NO. 238 Wenmin Rd., Guangzhou)
Sunday, October 04, 2009
卡科夫斯基 + 李勁松
錄映太奇，Noise Asia 聯合協辦
日期: 2009年10月8日 (星期四)
藝術家: 卡科夫斯基 + 李勁松 + Sin:Ned
費用: 港幣100元正 (只限現場購票)
是次演出將呈現卡科夫斯基與李勁松二人共同合作的作品。近兩年來卡科夫斯基曾多次來華演出，並由此與李勁松結識。在多次的同台演出和音樂創作上的切磋後，04年二人萌生了共同制作一張專輯的念頭。經過一年多的努力，一張集結了二人多場現場演出的音樂片段和錄音室作品的專輯“Revenge of Ying And Yang”(陰陽復仇記)終於在05年末推出。隨著唱片的出版，卡科夫斯基和李勁松的音樂創作也開始邁向新的方向。經過十多年在實驗噪音方面的探索，卡科夫斯基已表示將逐步把觸覺延伸到Ambient（環境）音樂方面。所以此次演出也將是二人在“Revenge of Ying And Yang”專輯後，音樂創作新動向的一個風向標。
[Staticizer Tour 2009] @ Hong Kong
Zbigniew Karkowski + Dickson Dee
Organized by Videotage and Noise Asia
Date: October 8, 2009 (Thursday)
Venue: Unit 13, Cattle Depot Artist Village, 63 Ma Tau Kok Road, To Kwa Wan, Kln, HK
Artists: Zbigniew Karkowski, Dickson Dee, Sin:Ned
Ticket: $100 at the door only
Sound arts star Zbigniew Karkowski will join force with the Hong Kong laboratory musician Dickson Dee in the [Staticizer Tour 2009] at Videotage on October 8th.
The concert will be a milestone of Zbigniew Karkowski and Dickson Dee’s music journey since their collaboration in the album, "Revenge of Ying And Yang" in 2005. They met 2 years ago during Zbignieew’s tour in China and since then the two have performed and collaborated repeatedly. They first initiate to produce an album together in 2004 and after a year of hard work, "Revenge of Ying And Yang" had finally came to live in 2005, which features live clips from their concerts and studio recorded music.
The collaboration have been influential and have pushed their music to new directions. After exploring noise and experimental music for over 10 years, Zbigniew have gradually moved to the creation of ambient and environmental music. He thinks that in order to have a better understand about ourselves and the planet, artists in the present day have the responsible to travel and work around the World. He also strongly believes that geographical, political and social exile is a necessary condition for true and honest creation. He is not interested in the traditional definition of music, in his opinion, all musical theory and systems, as cultural concepts must be destroyed. In his latest work, his main concern is to realize drama with sound - electronic and acoustic walls with the architectures of ruins transcribed in the scores.
Since the release of his solo album “PAST” in 1996, Dickson has began to set foot on the creation field with musical styles ranging from avant garde to experimental, music concrete, electronic, new classical, industrial noise, dance, electronic world jazz etc. He has collaborated with many artists, and set up his personal label Dicksonia Audio beside Noise Asia, which concentrates on the release and publishing of his own works. This provides more freedom and convenience to further develop his creativity.
facebook's event page:
Saturday, September 05, 2009
No One Pulse
In this second full length album from the Hong Kong electro-acoustic duo, the micro-noise improvisation journey continues. With two long live improvisation cuts and two short studio recordings, E is the place where micro-sound meets noise electronics. If the last album, LINGK, is a revelation of the quantum mechanical sonic world, E is a bold venture in testing the boundary of such sub-atomic territory.
Filed under: Electro-acoustic, Improvisation, micro-noise, Experimental
DARK SIDE OF THE CHORD VII
Deeply influenced by the Tokyo Psychedelic Underground, Hong Kong experimentalist Sin:Ned created a never-ending and eternally self-referencing world of noise and extreme frequency. The two solo improvisations on modified Omnichord unleashed the full darkness hidden inside the bent circuitry of the instruments. A complex structure of razor sharp power lines running through an endless maze of psychedelic trans-configuration. Free and abstract. Forceful yet intricate. A brutal journey about the poetic of lost soul and dead spirit.
Filed under: Circuit Bending, Noise, Improvisation, Psychedelia
LAMMA ISLANDS DIARY
The first release of our On Location series. From one of the most influential Chinese sound artists of our time. A new master piece that for sure will redefine site-specific and field recordings oriented sound works. This sound diary was recorded in Lamma Island, by Beijing sound artist, Yan Jun, during his stay in Hong Kong for the AROUND sound festival in 2009. The imaginative approach of Yan Jun simply opens up a whole new world for field recordings. From now on, field recordings will never be the same.
Filed under: Field recordings, Sound art
GOING HOME (OR NOT)
An academic audio work from the award winning phonograph artist Anson Mak (ex-AMK). In this new CD, she brings to us not only result of her long time research on the endangered sound and community of Kwun Tong (a district soon to be destroyed by the Hong Kong government’s urban renewal program), but also a very personal story. Almost like a mini research. Only difference is that, this one is filled with personal significance.
Filed under: Field recordings, Sound art
Monday, August 31, 2009
Saturday, August 22, 2009
Re-Records is a record label initiated by experimental electro-acoustic duo No One Pulse from Hong Kong. With Re, we don't solely aim to be an outlet for releasing self initiated or other affiliated projects, but also for artists and releases we deem interesting.
Other than standard releases, our catalogue includes:
Doc: Documentary/Documents on archiving art related projects, exhibtions, and installations.
On: On Location, an attempt to focus on field recordings and other site specific recordings.
Scheduled releases in Sept, 09:
No One Pulse - E
Sin:Ned - Dark Side of the Chord VII
Yan Jun - Lamma Island Diary (On Location series)
Anson Mak - Going Home (or Not) (On Location series)
Stay tuned for more update.
Friday, August 07, 2009
Studio Theatre, HKCC
30 / 9 – 3 / 10
Ticket Price: $120
Music Creation & Performance
Programme A (30/9, 1/10): Aenon Loo, Alok, KWC
Programme B (2–3/10): João Vasco Paiva, Sin:Ned, Pun Tak Shu
Guest Speakers: 30/9 Liu Jiakun (Chengdu), 1/10 Zhu Xiaodi (Beijing), 2/10 Wang Shu (Hangzhou), 3/10 Zhang Lei (Nanjing)
Co-organisers: Domus China, People Mountain People Sea Music
Curator: Steve Hui (Nerve)
Music Advisor: Anthony Wong
“Architecture is... Discourse with Music” is an experiment and a creative dialogue between music and architecture. Beginning with electronic music, local artists will share their feelings and experiences of architecture with the audience through the three stages of exploring architecture, getting to know architecture and feeling architecture. Four architects from the Mainland will be invited to participate and lead the audience to embark on an adventurous journey to the magical world of architecture.
Conducted in Mandarin.
Running time is approximately 105mins without intermission.
Two people. One wooden box. Forty-eight metal contact points. This is the basic idea of INTRE-FACE.
Opening: No One Pulse
KWC + Vavabond
Sin:Ned + Yan Jun (on Harmonic Field)
Thursday, July 09, 2009
Episode 1: http://www.bbc.co.uk/programmes/p003jk13 (currently on-line)
Save our sounds: In the first programme, acoustician Trevor Cox joins a soundwalk in central London and explores the world of acoustic ecology. Trevor meets artists and city planners to discuss how sound influences our lives and affects our well being. Are cities getting noisier or is it just that we're losing the quieter places we once had – the back streets and urban squares where citizens can go for a respite from the wall of noise? How has the soundscape in London changed and what sounds are in danger of being lost in the future?
Episode 2: http://www.bbc.co.uk/programmes/p003lqz3 (will be available next week)
Trevor Cox continues his exploration of the urban soundscape as part of the BBC’s Save our Sounds project.
Today, Trevor meets scientists from the Positive Soundscape Project attempting to influence the future sounds of our cities; and he travels to Hong Kong to meet artists campaigning to save the acoustic heritage of old neighbourhoods, under threat from for commercial redevelopment.
Thursday, June 25, 2009
Thursday, May 14, 2009
Monday, May 11, 2009
Red is the first compilation of Lona Records' Color Series.
Set up in 2003, Lona Records is an independent label in Hong Kong preoccupied with producing alternative/experimental music.
Re-Records is a "record label" project by experimental electro-acoustic duo No One Pulse from Hong Kong.With Re, we don't solely aim to be an outlet for releasing self initiated or other affiliated projects, but also for artists and releases we deem interesting.
Tuesday, March 17, 2009
DJ SET 1
DJ SET 2
DJ: iii Plays Red (Live Set) / domting
Presented by Lona Records & Para/Site
Monday, February 23, 2009
Sin:Ned / Nerve - Ghost Feeding Vessel
This is a split release between Sin:Ned and Nerve.
This split album from Hong Kong locals Sin:Ned and Nerve is a recorded performance on the eve of the Chinese Ghost Festival as accompaniment to a multimedia installation of video projection by two other artists at the Para/Site Art Space. It is a spatially haunting piece endemic to both region and intention – discernibly Asian and noticeably supernal.
The quality of the single track that sheds skin and phantasmagoria over a little less than forty minutes is to be commended for a live recording, the electronics so pristine they finely shave away all low-fi or hazed excesses yet despite the digital crystallisation is not frigid.
Intended to serve as a bridge those in this world and those in the next, ‘Ghost Feeding Vessel’ is thankfully not a dolorous drone of decay and depression for it is far too electric and chaotic. Bell chimes limn the air like the fragrance of jasmine, delicate and almost imperceptible; flutes flit and dart in Asian scale tones down to their quarters as swift as the smallest of winged birds; gongs explode showers of golden dust; even the more electronic oscillating susurrations are treated with a light deftness and inveigle the senses. Sounds coalesce and crescendo in attempt to force embrasure.
Several movements collate ‘Ghost Feeding Vessel’ with the middle section less ghostly than the lead-in as electronic glitches patter little rhythms with the sampled noise of dust. The last movement, however, seems to step away from the realms of spirits and becomes mired in an urban maelstrom of squalling frequencies and rapid and uncontrolled leaps of percussion. This detraction seems to close more than open the aperture into the formless.
The album is a limited affair, one-hundred CDr copies are presented better than the average slap-together, with a black silk-screen coated disc (quite a rarity for a CDr) and heavy gloss card in full colour. An intriguing symmetrical icon burns an optical illusion with lens flare that has your pupils dilating. (symbolique)
No One Pulse - LINGK
The Hong Kong duo of Wong Chung-fai (Sin:ned, Music Colony Bi-Weekly Magazine) and Chau Kin-wai (Sleepatwork) recording as No One Pulse, specialise in conceptually minimalistic, but broadly-painted, soundscapes, utilising electronic blips, hums and squeaks. In their own terms these are micro-sound experiments and “freeform” electronics, collated and built from both studio-based and live recordings. There are hints of a certain formalism to some of the microstructural minutiae of the compositions, but above and beyond that the pair introduce elements of random interpolations and chaotic improvisation. This is not to imply any Stockhausen-style atonality is present – rather, in much the same way that matter behaves in the real world, structures are allowed to emerge out of the randomicity without attempting to confine the music into any theoretical straitjacket. What we have then could be said to mimic the natural processes, albeit on a smaller scale, that form the bedrock of material existence around us.
I have to advise that I use the word minimal very loosely here – the sounds employed are in essence very few in number, but stack themselves up in successive layers to produce a convoluted complexity. Random concatenations, microscopic detonations and explosions, sheets of accelerated particles, high-energy sonic excitations, and hums, clicks and squeals – these are the fundamental particles that surge and flow, that collide and split, and form the basis of No One Pulse’s musical discourse. It’s never loud or harsh, although sometimes the drones and squeals have a habit of drilling into the head, just like some neutrino ploughing through miles of rock.
Indeed, the sounds on here remind me very much of the ‘music of the spheres’, created through both macro and micro-scale processes, picked up and recorded by radio astronomers – the constant flux of creation caught in spectral sound. It’s like the pair have journeyed through the heart of star-fields and galactic nurseries, sailed into vast dust-clouds of energetic radioactivity or flown past extra-solar planetary systems, all the while pointing sensitive antennae at them and recorded the fluttering, the whistling, the crackling, the humming and the heartbeats of black holes and galaxies hidden in the airlessness of space. And in between the interstices of sound there is space, eternal light-years of hyperactive nothingness, bristling with unseen and unfelt energies. Above all one gets the impression, the certain feeling in fact, of vast limitless expanses, where the stars and galaxies are on the same scale to the universe as atoms and subatomic particles are to our human comprehension. Little islands of coagulated matter clump together here and there, accreting and spinning, before amassing sufficient to form new systems and worlds.
Simultaneously, one can also envisage a journey through the particle-rich quantum world, which in its own way can be considered as just another universe itself, albeit compacted into an infinitesimally small space, but still an analogue of the bigger one. Therefore I wouldn’t be surprised, should we develop sensitive enough instruments, that we detect a similar subatomic symphony, equally as energetic and equally as noisy. And No One Pulse’s entirely naturalistic soundtrack can just be as fittingly applied to that scale as it can to its opposite. In that sense, it’s truly a work that encompasses the entire spectrum of creation in its scope.
It would be true to say, then, that experimental music has not only a global reach, but in this particular case can actually encompass whole worlds, from the small to the galactic. LINGK contains it all, condensing the whole spectrum into a palatable form, while simultaneously moulding it into a work of abstract beauty. The near-lightspeed blasts of particles no human eye could possibly ever see, the lightyears-long tendrils of starstuff left over from supernovae or the massive columns of gas and dust serving as the wombs of new stars; who would have thought that you could have shoehorned that lot onto a disc of plastic only 5” in diameter. (S:M:J63)