Since arriving, Zully has made the rounds, seeing every band he can at shows, practice rooms, studios, et al. We sat down for this short interview during a Chui Wan apartment mixing session. Read on to learn more about Zully’s philosophy behind making tapes, the unique energies he’s zeroed in on in Beijing, and some of the most interesting lessons he’s learned so far on his trip around the world. And if you’re free (and still in town) on Friday, January 20th, stop by Hot Cat Club for a free show featuring Zully’s one-man-band Banana Head along with Soviet Pop and Luxinpei.

Banana Head live in Yogyakarta, Indonesia

pangbianr: First, I want to introduce your label Goaty Tapes, which recently released a tape from the Beijing band Soviet Pop, and before that a tape from Simon Frank [of Hot & Cold], who has a pretty strong Beijing connection. Can you talk a little bit about your philosophy for the label and the concept behind it? Besides China, you’ve also released artists from Germany and Russia. How do you go about finding interesting international bands?

Zully Adler: Well the label started when I was in high school, I think I was 16 or 17. It was originally a way of getting involved in the local music scene in Los Angeles. Over the years it expanded to include any and all artists that I was interested in who would be generous enough with their music to contribute. There was really no prescribed aesthetic or genre for the label, but I am generally attracted to music that has a more intimate quality to it, and that usually comes across in the way the music is recorded. So a band like Soviet Pop that records their music live with a room mic, like they did for the release that we worked on together, fits into the general intimacy of the label that I’ve tried to foster over the years. And that comes across in the way that I send out newsletters and correspond with bands and people who buy from my website. I even advertise the fact that my mom handles my mail order when I’m away. So it’s about fostering that individuality and breaking down the barriers that are created when you start distributing music on the internet. Most of the releases can be described as “lo-fi” or “damaged”, but I think that also fits in with the idea of intimacy because there’s a certain naiveté, or an experimental or child-like approach that a lot of bands take when they play music. It’s less about developing virtuosity as a musician and more about expressing yourself despite the fact that you might not know how to play your instrument.

Soviet Pop – “Sound of Sweat Radio”

Beyond that, the label really functions doubly as an art project for me. I always liked making cover art or making art in general, and tapes as a medium offer a lot of different surfaces for design and for packaging. That said, I don’t do wild or outlandish packaging because I don’t like the burden of having to find a special place for the tape, I like it to fit snugly with the rest of somebody’s tape collection. Even if some crazy big poster packaging looks cool, it’s like, “…where do I put it?”, you know?

Soviet Pop tape packaging

“Soviet” transliterated in Chinese/toothpaste

I guess over the years I’ve moved away from wildly experimental or improvised music and into more subtly song-based or structured music. Even with the songs I worked on with Soviet Pop, they asked me if I wanted more experimental stuff or what they call their “pop” music, and I chose the pop stuff because I thought that almost had a more subversive edge to it. When there is a beat or there’s a semblance of a beat, a semblance of song structure, your expectations are undermined by the damaged or experimental quality of the music that almost kind of hints at pop or rock. So, I guess that’s how Goaty Tapes has functioned thus far, but it’s susceptible to change. I didn’t define the project when I started and I hope it continues to develop in new and different ways.

pbr: How did you initially get turned on to the Chinese scene? I assume your first contact was with Simon? How did putting out his tape lead to you collaborating with Soviet Pop and then becoming interested in enough in Beijing to actually come out here?

Zully: I found Simon on the internet, through certain music connections that I had made that brought me closer to the Toronto scene. I’d previously been in touch with Frank who runs the Hobo Cult label because we did a tape together of his band Death Light. Through Frank I found Simon, we worked on a project together. I love Simon’s music. When I heard that he was corresponding pretty regularly with these Chinese bands and had spent some time [in Beijing], I was intrigued because it was a big chunk of the world that had yet been unexplored under Goaty’s auspices. I felt like talking to Simon about bands in Beijing would be a good opportunity to explore what was available.

Simon Frank – “Unheated Neighbors” CS

He sent me a bunch of links and I looked into some local bands, and I was really taken aback by the quality – not necessarily the quantity, but just the quality of the music that was coming out of Beijing. In the past three months I’ve been across a lot of countries in Asia, and some of them have extremely vibrant DIY music communities, but none have the forward-thinking progressive element that I find in Beijing. A lot of them play pretty traditional punk and metal. Whether it’s ’76 punk or black metal, I can still listen to it and almost immediately fit it into a genre that I’ve already come across. Whereas when I heard Soviet Pop, I didn’t know quite what to think. And that’s been the driving impulse of putting out tapes for me. If I hear something and I can’t immediately define what it is or where it came from, I’m much much more inclined to get in touch with the artist and to work with them.

So at that point I knew very little about Beijing or Chinese music in general. I had a general interest in China because I come from a Marxist family… actually, my grandmother on my father’s side was the Communist cultural liaison between Australia and Maoist China. I don’t really have political allegiances to any of that in particular, but it made the connection a little stronger for me.

pbr: You’re on a traveling grant now, basically going to a lot of under-explored music scenes around the world — places like Southeast Asia, Australia, and now Beijing — to study tape culture and DIY culture. What is your goal? What are you trying or hoping to find? What have you actually found? What are some of the stand-out scenes or bands that you’ve seen?

Zully: Basically the idea of the trip is to explore how and why people produce and distribute their own music. I’m interested in the trade-based network that musicians create through the independent creation of their music releases. Specifically, I want to know how it takes the form of the cassette because it’s such an odd medium to use these days. But I haven’t excluded [web] labels or CDRs, vinyl, anything really.

What’s been interesting to trace are the obstacles that different artists face under different governments, under different cultural paradigms… Beijing in particular, it’s been interesting to note, faces a lot more in terms of censorship when it comes to distributing their own music. This trip has really more than anything expanded my definition of what it means to be “DIY” and make your own music. That way that I understood it, and I think a lot of people understand it, was as a fairly recent phenomenon that is in reaction against a commercial music industry. But what I’ve come to learn is that there’s a much longer arc that connects these DIY movements to independent music that’s been going on for 40, 50, 60… 80 years, even. Especially in Indonesia, where I came across a lot of traditional bands of these ancient musicians in their 70s and 80s who were still making and distributing their own music, whether it was on tape or cd, or even on the internet in some cases, which was the most interesting because, I mean, I know my grandpa doesn’t know how to use the internet… That was definitely one of the more mind-expanding parts of this trip, was kind of re-defining the idea of DIY in light of the fact that there are people who do it under all sorts of circumstances.

Tropic tape duplication, Bandung, Java, Indonesia

In America, because people have access to other ways of doing their music and there is a relatively large commercial sphere, you specifically decide to release your music independently. But in some of these other places, I met a lot of people that just had no choice but to distribute their music on cassette. I worked with a punk collective called Alternaive in Bandung [Indonesia], and they didn’t own laptops or computers so they couldn’t distribute their music very effectively on the internet. They could only do it with physical releases. Not only that, but the one place left in Bandung that would duplicate releases is called Tropic CDR and Tape. At Tropic, the lowest run for a CD release is 1,000, whereas the lowest run for a tape is 50. These guys clearly did not have the capital to invest in a thousand CDs, let alone sell those CDs. So tapes are really the only option available to them. That was really interesting to encounter, because that doesn’t happen in the United States.

Deden of Alternaive DIY collective, Bandung, Java, Indonesia

It’s interesting to note how this is in some ways not a reaction against commercial music, but a solution to the demise of commercial music. As it becomes more and more difficult to sell music on a large scale, these big companies disintegrate and it’s up to the bands themselves to figure out how they want to produce and distribute their music.

pbr: Since you’ve been in Beijing, you’ve been able to see a few shows and have met a lot of musicians. What is your sense of the city? What do you think are the most interesting aspects of the Beijing music scene from the small window you’ve had on it so far?

Zully: One thing that’s interesting is that there’s this strange… I don’t know if it’s a duality or a dialectic… there seems to be a lot of different scenes within Beijing, but at the same time each scene seems very inclusive. So, even though there are enough people to have a folk scene, and a metal scene, a punk scene and an experimental scene, even within each of those you have people that expand the definition of those genres and create these gray areas between genres or between communities. That’s one thing that’s been interesting to note. And I guess the positivity and receptivity of a lot of the musicians and promoters that I’ve encountered here… nothing is denounced just because it belongs to a different group or has a different sound. Things are considered in terms of their irreducible singularity, and people want to know that person as an individual before they make any claims about them.

I think I came at a strange time during the year in China, but I’ve been glad to catch a lot of the people that I would like to see. I’d like to extend a thank you to everyone I’ve met because they’ve all been very hospitable to me, welcoming and helpful in negotiating the music scene in Beijing.

buy Goaty Tapes: goatytapes.com
follow Zully’s travels: GlobalDIY.blogspot.com

《 看无解网站做的中文采访 》

For those unfamiliar, Shanghai’s Trash A Go-Go is one of the most prolific DIY music promoters in mainland China. They are a trio of friends who book garage, surf, punk, et al: ”music that can make people say ‘my life was saved by rock ‘n’ roll.’” In just under two years they’ve organized tours for bands from Norway, Japan, Australia, and France, as well as domestic groups such as Beijing’s Flying Mantas. It’s totally DIY and not-for-profit (all the money they make is re-invested into future shows), and it’s run by true music lovers: Japanese transplant Toshi has played drums in a number of Shanghai bands, including raging (and now defunct) hardcore punk unit The Instigation; Shanghai native Misuzu fronts Banana Monkey; and “token Yankee” Brian Offenther spins rock ‘n’ roll classics as DJ B.O.

Brian is also somewhat of an expert on the rock scene in Mongolia, where he lived previously. He has organized tours for Mongolian bands in China, and last year sent Shanghai’s Boys Climbing Ropes and Moon Tyrant to Ulaanbaatar. His next venture is a China tour for Mongolian garage punks Mohanik, who will play on Friday, January 13 at D-22 along with Moon Tyrant, Flying Mantas, and DJ B.O. (Stream Mohanik’s jams here.)

Read on to learn about Trash A Go-Go, the Mongolian rock scene and more from Brian:

pangbianr: You’re a part of Shanghai’s Trash A Go-Go crew, which is responsible for bringing international garage rock acts to China and throwing interesting shows and parties, among other things. Can you explain the objectives of Trash A Go-Go? What have some of the highlights been, and what are your future plans?

Brian Offenther: Trash A Go-Go is Shanghai’s monthly tribute to vestiges and vintages of rock ‘n’ roll, including rockabilly, garage rock, and punk. It was formed early in 2010 by Toshi (The Macaronians) from Japan and local Misuzu “The Tornado” (Banana Monkey). I guess they needed a token Yankee, so I joined them soon after I arrived to China in the summer of 2010. Each month we bring a different band to Shanghai for the shows, including bands from Norway, Japan, Australia, and more. We don’t profit a dime from the shows – all the money gets reinvested into it, and sometimes we have to pay expenses from our own pockets. It’s worth it though, because we are completely focused on the quality of the shows and have really helped keep the independent rock ‘n’ roll flame alive in Shanghai.

Up next, in late February, we have The Barbacans from Italy. They are a real stomping garage band in the style of ? and the Mysterians.

All other plans are under wraps. We are the North Korea of rock ‘n’ roll.

follow Trash A Go-Go on douban

pbr: The Trash A Go-Go shows seem to include a lot of different styles and influences, including garage, surf rock, instrumental rock, hardcore punk, et al. You also DJ under the name DJ B.O. Can you talk about the guiding aesthetic or philosophy behind Trash A Go-Go? Do you aim for a particular sound, or a particular vibe??

B.O.: Well, my DJing goes back to my college year in Gainesville, Florida. I really like to dance but don’t like “dance music” per se. It then continued when I moved to Mongolia, and now China. At a Trash A Go-Go show, as I generally prefer anyway, I focus on the music that inspired Trash A Go-Go, people like Chuck Berry, The Rolling Stones, Paul Revere & The Raiders, etc. It’s shake and stomp music – no lessons required.

Trash A Go-Go has some Americana kitsch, but it’s really about music that can make people say “my life was saved by rock ‘n’ roll.” It’s not terribly sophisticated, but it’s a manifestation of sexual and societal angst, hip grinding for the greater good. Human beings are not meant to sit at cubicles or in schools all day, so it’s not surprising that when they hear a primitive drum beat they go ape. This is music you can feel, that pulses – not plastic.

pbr: Your next big project is a China tour for Mongolian garage punks Mohanik, which you say is the 2nd ever tour by a Mongolian band in China. You seem to do a lot of work bringing together Mongolian and Chinese bands, as when you organized shows for Boys Climbing Ropes in Ulaanbaatar last year. What is your impression of the Mongolian rock scene? Why do you think that, despite physical proximity, there has been such little overlap between Mongolian and mainland Chinese music? Can you namedrop some Mongolian bands for us to check out?

B.O.: It’s the second ever time a rock band from Mongolia has played Beijing. The last time was a Mongolian culture event (played by The Lemons), so it wasn’t really open to the public and might not even count. It is the fourth tour of China by a Mongolian band overall, with Mohanik’s first time playing in Shanghai in the summer being number two – complicated stuff.

The Mongolian rock scene is small, but pretty well established. It’s tough to compare to China, because half of the population of Mongolia lives in Ulaanbaatar, and that’s only 2 million people or so. However, it does have some good infrastructure. There are radio stations that play local music, music videos by Mongolian artists play all day on TV, and you can buy albums by local bands at stores. It should be remembered that Mongolia only “opened up” in the early 90s, so it’s still regrouping its art forces.

There’s been little overlap for a few reasons. For one, the Gobi is a beast, and transportation to and from Mongolia can be expensive. Two, many Mongolian people have a long-standing xenophobic hatred of China, based somewhat on the sticky issue of Inner Mongolia. Mongolians are a historical-minded people, and The Great Wall of China is still an affront to some. Three, many Chinese have little idea and no understanding that they have a neighboring country called Mongolia that even exists. Four, Mongolia (and China, for that matter) is still a developing country with many other priorities.

Some quality Mongolian rock bands: The Lemons and A-Sound toured China last time, and they are Strokes-like indie rock and Coldplay-like indie pop respectively. Altan Urag is a folk/metal band in the style of Hanggai, but with a much higher badass quotient. If you like hip hop, rapper Gee is of serious international quality. You can expect to be seeing more of these acts in China in the future…

pbr: On that note… Hanggai is one of the most popular folk bands in Beijing, and arguably one of the most successful Chinese bands internationally. But they clearly derive a lot of their sound and image from their Mongolian heritage, albeit via Inner Mongolia. What is your opinion of Hanggai and other Mongolian bands operating in mainland China?

B.O.: Hahaha. The Mohanik guys have been getting a lot of questions about Hanggai. Last night they asked me, “Who the fuck is Hanggai?” Hanggai is barely known in Mongolia, and only by hardcore music guys who would know them even if there wasn’t a “Mongolia” connection.

Like I mentioned before, this is a sticky issue, with all sorts of historical implications. Just last year, Mongolians were furious when China “claimed” a traditional Mongolian instrument as its own in an UNESCO related project. This was like, big news over there, and not a blip in China, which also explains a lot in terms of their relationship.

In some ways, I think what Hanggai is doing is great. I think it’s super a band from China plays Bonnaroo. I think mixing folk and rock music is a great development. I also have a deep appreciation for traditional Mongolian music.

However, in a lot of ways, Hanggai are like Flogging Molly, The Dropkick Murphys, and Black 47: utilizing their ethnic heritage (well, some of the Hanggai guys aren’t ethnically Mongolian) as a hook. Is that okay? Maybe. It is complicated though because “Irish-American” has a whole legacy of its own. When people hear about Hanggai though, they assume they are “authentic” (whatever that means), which according to most standards, they are not.

The Hanggai guys are super nice, and they’ve expressed interest to me in playing in Mongolia. I really hope it will happen. I think in many ways they hold a key to lessening tension held by Mongolians to China.

pbr: At the Beijing stop of Mohanik’s tour you’ll also curate a “rock ‘n’ roll dance party” as DJ B.O. What will your set consist of?

B.O.: If you need more than what I said before, here is my press release profile, along with a mix: Mods & Rockers Mix

He [DJ B.O.] rebels against people who DJ because they are afraid to dance in public. He will sing and dance to provoke movement. He is somewhere between vaudeville and Warhol. Featuring vintage-hits and forgotten favorites, he thinks dance music is for pussies but The Shangri-Las are fucking artists, man. Tech? NO.

Also, I’ll probably play some cool Mongolian music.

Also, Also

Joining us on the show in Beijing will be Moon Tyrant from Shanghai. They played the tour of Mongolia with Mohanik and are a great hard rock/metal band. And, we will be joined by Beijing’s own Flying Mantas, who played Trash A Go-Go a long while ago and left me voiceless after I sang along to their punk classics.

Check out Mohanik, DJ B.O., Moon Tyrant and The Flying Mantas on Friday, January 13 @ D-22. Stream some Mohanik jams below:

Mohanik – “Duugii Daagii”

Mohanik – “Kukariku”

Mohanik – “Moritoi Ch Boloosoi”

D-22 is scheduled to close next week. Founder Michael Pettis explains why and what’s next:

pangbianr: By now the rumors have spread so widely that it’s common knowledge D-22 will close… Why? How long has this been in the works?

Michael Pettis: We’ve really wanted to do something very different in the Beijing music scene for a long time and so we have been thinking about closing D22 pretty much since the beginning of 2011. Our original plan was to close on our sixth anniversary, on April 1, 2012, but the owners of the space have asked us to close earlier because they are concerned that 2012 may be a pretty sensitive year.

It wasn’t an easy decision of course, especially since the audience had been getting bigger, particularly on weekdays, and this suggested that our drive to get more local students to attend music shows was working. We have always lost money on the club, but in 2011 we lost much less than ever before – which is a victory of sorts, I guess.

pbr: When will the club actually close?

MP: I think the last show will be January 10 which, very fittingly, is a Zoomin’ Night, because it was the development of the Zoomin’ scene that was probably the biggest factor in my decision to close D22 and open another space.

pbr: In recent years Beijing has seen proliferation of new live music venues, many of which are located more centrally in Beijing’s Gulou district. How has this affected D-22?

MP: We always saw our role as to find and support talented new musicians so it didn’t really matter to us, especially since the Gulou clubs tend to draw a pretty different crowd from ours – older and more expats, especially non-student expats, and mostly looking for more familiar sounds and well-known bands. Whenever our bands became big we would only let them do secret weekday shows at D22 and book the big weekend shows for them in other places around Gulou. Our favorite was always Yugong Yishan, which may be the biggest club in Beijing but is still the one most willing to take risks on new music.

pbr: What was the goal when D-22 initially opened? Do you think you accomplished this goal?

MP: Our first goal was a little immodest, but we thought that with the right kind of support Beijing had enough talented musicians to become one of the most exciting new music cities in the world, and we wanted to be part of that process. This happened much quicker than I thought it would, to tell the truth. Our second goal was to help shift the audience for new music in Beijing, and in China more generally. Several years ago expats and locals in the scene dominated the audience, but for me it was clear that if Chinese college students didn’t become the backbone of the scene it would never develop. That’s why we opened in Wudaokou and catered to Chinese students, even though they have less money and don’t drink as much as the expats.

pbr: If you could change anything about D-22′s nearly 6-year run, what would it be?

MP: I would have spent more money on the bathrooms and the electrical system. There is nothing worse than the nagging worry during a great show that we will have another bathroom disaster or the circuits will once again blow out.

pbr: In many people’s minds, D-22 is synonymous with Maybe Mars, since the club and the label are both owned and operated by you. Yet some of the bands that cut their teeth and came of age at D-22, such as Hedgehog and Queen Sea Big Shark, went on to record albums for Modern Sky and other labels. In your mind, what is the connection between D-22 and Maybe Mars? I.e., is one a branch of the other, or are they separate units with different objectives?

MP: They are not synonymous at all, although they both have very similar objectives, which is to support local musicians that we think have a great deal of talent. Many if not most of the great bands and musicians that have emerged in Beijing over the past five or six years were closely associated with D22, but we simply couldn’t sign them all – especially [Queen Sea Big Shark], who signed with Modern Sky before we even started our own label. Putting out CDs nowadays is a money loser, and the more performers you have the bigger the bills, especially the way we do it, since we try to get high quality recordings even for bands that will always be too experimental and difficult ever to sell many CDs.

Actually our problem with the label has been very different. Every band that we asked to join Maybe Mars, with one exception when we first started the label, has joined our label, and even that exception asked us last year if they could switch from their label to ours. The problem for us is that a lot of bands that we love but are not prepared to take on get upset if we don’t sign them because they associate themselves strongly with D22 and assume that D22 and Maybe Mars are the same. If I had enough money and could easily hire more of the kind of first-rate people we have working at the label, I would expand the label tremendously, but I need to make more money first.

pbr: There are also rumors that the team behind D-22 will open a new club. Will the aesthetic and mission of this new venue be a continuation of D-22′s, or something different?

MP: It will be very different, I think, and much more oriented towards a group of very sophisticated and talented young musicians that congregate especially around our Zoomin’ nights. In fact this was the main reason we decided to close D22. There is a really interesting scene developing around the Zoomin’ and the No Beijing musicians, with a lot more experimenting with different sounds, many short-term on-stage or in-studio collaborations between different musicians, and lots of swapping ideas and styles. Our new space is going to be designed with this kind of thing in mind. I was eager to do something like this for years, but six years ago we would have never been able to pull it off. The new space will be an attempt to see if we can pull it off in today’s Beijing.

pbr: Do you have any closing remarks to sign off the D-22 era?

MP: It’s been too busy to think in terms of the end of an era, but I will say that the last few weeks in a sense explain what we did well and also, perhaps paradoxically, why we have to close D22. As you know the club was pretty much packed for much of the past two weeks and we had three nights in which the audience was so large that by 10:30 we had to close the doors and turn away hundreds of kids at the door – 350 people is our limit.

This is very positive in one sense, because a few years ago no one would have imagined such large audiences lining up for hours in frigid weather to see these bands, but it also convinced me further that we really couldn’t keep on going as we were. Strangely enough when D22 is packed I am more than ever convinced that we can and should move on to something else. I am happy in an abstract way when the club is full because of course the musicians like big audiences, but honestly I hate being there during those times – it is just hard work, not music, and if you are losing money anyway it is hard to justify working so hard.

D-22: May 1, 2006 ~ Jan 10, 2012

Not in China? Watch on Vimeo.

《 View English Interview 》

中文编译Lulu Chow

D-22将在下个星期按计划关门。D-22的创始人Michael Pettis对关门一事做了说明，同时也谈到了未来的打算：

旁边儿：迄今为止，有关D-22关门的谣言已经肆虐到几乎每个人的耳孔里了，你们也最终发布了消息，证实关门确为事实。我们想知道具体的原因是什么，你是在什么时候有了关门的打算？

Michael Pettis：我们一直以来就非常想在北京独立音乐领域里做一些不一样的事情，可能是一些超越现场音乐形式的东西，或者伴随着地下音乐圈里的新势力，做更多的尝试。关门的想法在2011年初就已经浮现在我脑海里了。我们最初的计划是在6周年纪念日的时候正式关门，也就是2012年4月1号。但很遗憾，我们的房东等不了那么久，他希望我们能尽量提早关门、终止合同，至于什么原因我也不清楚，他可能出于对2012这个敏感的年份的恐惧吧，对此我个人非常理解。

当然这对我自己来说，断然不是一个轻松的决定，特别是整个这一年来乐迷观众的队伍日益壮大，特别是双休日的人潮激增。我很高兴，因为这恰恰证明了我们力图把学生乐迷阵营引向D22计划终于奏效了。尽管酒吧的生意照样赔钱，但是值得庆幸的是2011年我们赔的是最少的一年，这的确称得上是一种胜利。

旁边儿：酒吧会在什么时间正式关闭？

MP：我想最后一次演出会在2012年1月10日，我很欣慰，或者可以说相当应景的是，那一天是一个星期二，是燥眠夜的演出。因为事实上，燥眠夜乐队的蓬勃发展是我决定关闭D22，开始寻找新驻地的直接原因。我在这其中看到我做音乐事业的初衷，看到更加新鲜的生命力。就是这种蓬勃又变动的生命力让我最终下定决心改变策略，挪动脚步。

旁边儿：最近几年，聚集在市中心，逐渐繁衍遍布了更多的演出场地，随着地铁南锣鼓巷和后海站的在建，鼓楼一带延续了多年来集胡同休闲餐饮和乐手酒吧文化的传统，退休乐手和独立设计师投身手工复古小商品行业、创意服饰家居产业，成功的刺激了商业的同时，也更具备凝聚力，使之成为了当下北京更稳固的新流行文化阵地。相对这种日益丰满的聒噪，你觉得，对身处海淀的D-22是否构成潜在的压力和影响呢？

MP：我们一直以来扮演的角色更像是一个退居二线的挖掘者和启蒙师，致力于发现并支持年轻的音乐实践者们，所以演出场所的多样化和集聚性，对我们来说影响不是很大。特别是活跃在鼓楼一带的演出场地更乐于把眼光放在异国观光客和移居者身上，而且基本是非学生团体的外国移居者身上，商业气氛比较浓。音乐上也更倾向于被人们熟悉的，已经成名的乐队，和D22的方向是有很大差别的。但是我们一直在与他们合作一些大型演出，对于那些发迹于D22的乐队，在他们成名之后，我们都是只推荐他们在D22演私人聚会式的小场子，然后帮他们在鼓楼一带策划大场子。目前为止我们最喜欢的地点是愚公移山，因为他们可能是目前北京最大的一间愿意承担风险支持年轻乐队的演出场地了。

旁边儿：在D-22刚刚开始的时候，你的最初目标是什么？你认为到现在为止，你完成了这个目标吗？

MP：我们的第一个目标听上去比较谦虚，因为主要是看到当时北京活跃的地下音乐氛围，和很多有才华的乐手，他们正着手把这个城市转变为一个备受世界瞩目的新音乐圣地，我们很荣幸能成为这个运动中的一部分。说实话，这个过程发展演变的速度之快，超出我的想象。接下来的第二个目标是把乐迷引向北京的新音乐圈，或是中国的新音乐领域。几年前，一直是大批外国移居者和本地人乐手控制着地下音乐的观众群，但是对我来说，很明确的是，如果中国的大学生乐队和广大年轻的音乐实践者不能成为这个圈子的后备力量的话，那整个的新音乐运动，新的地下音乐浪潮就不会继续下去。这就是为什么我们把场地定在了五道口，是为象牙塔里的音乐天才提供一个便利，即便他们手头不像那些老外们那么阔绰，能一下子塞给我们大把的酒钱。

旁边儿：如果你有机会回到过去，对D-22六年的历史里程做出一点建设性的改变或者扭转，你会做什么？

MP：我会花更多的钱在洗手间和电力系统上。没有什么可以比在一场美好的演出进行中，洗手间突发洪灾或者烧掉电线更糟糕的事情了。

旁边儿：在很多人眼中，D-22同时也映射着兵马司唱片，因为酒吧和厂牌都是由你自己在独立运营。有一些乐队比如刺猬，后海大鲨鱼等，D-22是它们诞生的温床，但是后来很多乐队都签了摩登天空厂牌。在你眼中，D-22和兵马司的关系是什么？是前者是后者的分支，还是两者都保有各自的独立性？

MP：这两者之间没有绝对的映射关系。即便他们都有近似的客观目标——支持当地有才华的年轻乐手。在北京有很多相当出色的乐队和音乐人在过去五六年里涌现出来，但是很显然我们不可能把所有的乐队都签到旗下，比如后鲨，他们和摩登天空的合约是在兵马司创立之前就已经签订的。出版唱片在如今这个年代是赔钱的买卖，你拥有越多的签约艺人，更庞大的开支就等着你，我们试图给乐队制作更高品质的唱片，花更多钱做好唱片，但是回报是非常少的，除了唱片产业存在的阶段性问题，同时还有根本性的受众问题，能接受这些实验乐队的人们还是太少了。

旁边儿：现在萦绕耳边的种种谣言当然也囊括关门之后的走向——D-22背后的团队正在试图寻找新的驻地。有关这个新场地的种种，我们更想知道的是，它所承载的意义和任务是继续D-22的使命，还是脱胎换骨出一个崭新的面目？

MP：我觉得肯定会很不同，而且会更加面向多变而年轻的乐手们，特别是偏向类似燥眠夜，以年轻乐手为主的实验舞台。燥眠夜和No Beijing阵营带来了太多的惊喜，我们的新场地将会更多的着眼于此。这也是我一直迫切想做的事，六年前我们没有能力去实现它，那是一个小众集体自杀的年代，但是现在，在今天的北京，我想是时候了。

旁边儿：对于即将结束的D-22时代，你有什么要说的吗？

MP：一直很匆忙，以至于头脑中完全没有空暇去意识到这是一个跨时代的事件，但是我想说，在这最后的几个星期里，我们成功地像人们展现了在过去的岁月中取得的成果，同时也相当的矛盾，这些成果所反射出来的画面也恰恰告诉我们，的确是该终结的时候了。过去两个星期你看到酒吧几乎场场爆满，10：30我们必须关门限制入内 ，达到了350人封顶的局面。

这当然呈现了很积极的一面，因为几年前我们几乎无法想象能有这么多观众在刺骨的天气里排队买票来看这些乐队的演出，但是这也更加进一步说服了我，在日后我们无论如何不能继续以前的这种方式了。听起来有点奇怪，当D22人满为患的时候，我却在一门心思想着搬家，想着挪动脚步迈向另一片崭新的天地。当然乐队们喜欢涌动的粉丝人潮，但是说实话我讨厌那种感觉——没有空间给音乐，一切都是满的，太累了，而且如果在这样的状况下你还赔钱，那真是一点儿都不值当。

D-22: 2006年5月1号 ～ 2012年1月10号

Luxinpei – 三幕话剧配乐 (OST for 3 Pieces of Drama) CS (Rose Mansion Analog)

This dropped in January and held up as one of the best products of Beijing’s Zoomin’ Night scene from 2011. Lo-fi no wave arrangements for guitar and bass, plus a slew of digital effects pedals of course. stream a song here

小红与小小红 – 黑样 (Black Sheep) CDR (G.B.J.D. Records)

Minimalist Kraut-pop, ambient and dreamy contact-mic vocals. This self-released CDR is an important benchmark for an emergent DIY culture in Beijing. It also turns out to be a snapshot memorializing XHYXXH‘s old sound, since they’ve now switched up their instrumentation and vibe entirely. download one song here and stream/buy here

Dear Eloise – Castle & Song for Her 7″s (Genjing Records/Share in Obstacles)

Beijing’s answer to surf pop… hazy bedroom shoegaze made with no audience in mind, as the band never plays live. download a song here & stream/buy here and here

On that note, 2011 saw two great new vinyl labels spring up in Beijing: Genjing Records, run by Nevin Domer of Maybe Mars/D-22/Fanzui Xiangfa, and Share In Obstacles, run by P.K.14 frontman Yang Haisong (also of Dear Eloise) and Paris-based musician Zaza Zhang. So buy a record player and catch up with the rest of the world’s anachronistic hipster zeitgeist!

Demerit – split 10″ with SS20 (Genjing Records)

Beijing’s best hardcore band had a big year, taking part in the Vans Warped Tour then playing more legit West coast shows with old punk legends like Fear, Poison Idea, Reagan Youth, and the Casualties. This was their only musical output for the year – 3 songs on a split 10″ record with German thrash band SS20. stream/buy here

Duck Fight Goose – Sports CD (Maybe Mars)

Sports, DFG’s first official album, was released in December and it is a fairly epic assortment of high-concept digital post-rock (the band has a sound engineer as an unofficial fifth member who makes pedals and amps with the band’s compositions in mind). It’s a record that bears repeated listens as the brain can’t quite wrap around it in a single take. stream a song here

Soviet Pop – 蜘蛛洞历险记 (Record of Adventures in the Spider Hole) CS (Goaty Tapes)

I actually can’t find any evidence that this has officially been released, but I have a copy of it so I’ll lump it in with 2011 releases. California-based cassette label Goaty Tapes has picked up on the wavelengths coming out of China’s underground and released a solid document of Soviet Pop’s thoroughly disaffected urban malaise synth music. Very Kosmische with something that is specifically Beijing in its affectation… stream/download here

  
Li Jianhong – Here Is It / Empty Mountain / Twelve Moods CDs (CFI)

Another big milestone for 2011 was the move of Li Jianhong and Vavabond to Beijing from Hangzhou and the establishment of their label/platform China Free Improvisation. The couple’s new project Mind Fiber recently made gallery rounds down south, but earlier in 2011 they released three environmental improv pieces by Jianhong: reflective, heady guitar+natural ambience meditations that can help dispel the bleak urban fog in your mind, especially if you’ve been listening to too much Soviet Pop. stream/buy here

Torturing Nurse, Orgasm Denial, MeiZhiYong, Li Jianhong – 4 Way Split CS (Fuzz Tape)

And to end things on a happy note, here is the opening gambit of another 2011 newcomer: FUZZ TAPE is a new all-cassette label dedicated to “pure noise, harsh noise, power electronics, extreme noise” from China and beyond. It’s run by Dongbei’s MeiZhiYong, a NOJIJI affiliate. This 4 Way Split is a strong first release, clocking ~15 minutes apiece of tortured guitar, electronics, tape machines, and inputs unknown from harsh noise lieutenants posted in Changchun, Beijing, Shanghai, and Hong Kong. buy here

颜峻北京客厅巡演
在过去的一年里，这看似是比较有趣且极具主创性的一次巡演发起活动了，先不顾演出的内容是什么吧，把艺术家邀请于你自家中进行表演，必然是一件令人颇感亲切的事。颜峻去年夏天在北京不同的私人客厅一共顺利进行了9场演出，表演内容以听诊器眼神对话、便携电子设备与日常生活用品共同发声和耳机回馈等为主。

阮千瑞《毁烬蓝图》发布
这是平面设计师阮千瑞发布的首部画册，一部记录过去几年北京实验音乐的画册，主要作品含括有水陆观音现场活动的几乎所有海报，部分观音唱片包装设计以及众多国内音乐人/乐队的唱片设计封套。主要合作的音乐人有像FM3, 颜峻，折磨护士，万晓利，宋雨喆，万能青年旅店乐队等等。这也是作为阮千瑞个人从事音乐方面平面设计的首个记录总结。我还记得很早之前问及他关于每周水陆观音的海报创作时，他经常说业于时间练练手，不过现在看来，水陆观音活动也结束了，这些平面作品成为了最好的记录，当你每翻开其每一张海报所呈现的不同艺人名字时，莫名的都会为其打动。

PBR发行CSC磁带
Pangbianr发行的第一张单曲，应该也是乐队Carsick Cars第一张磁带单曲，收录了乐队两首作品，分别是She Will Wait和Could You Be There. CSC于2011年参加美国德州奥斯丁 SXSW音乐节时出演了这两首新曲目。同时，磁带也是先于在美国3月份发行，半年之后CSC在北京What酒吧正式举办了首发演出。其实，近两年越来越多音乐厂牌着手于传统介质来推出新音乐，像玫瑰楼（磁带发行），Fuzz Tape (磁带发行)，根茎唱片 (Genjing)（7寸黑胶单曲），以及杨海崧和Zaza跨海外成立的分享障碍（SIO）厂牌（同是发行7寸黑胶唱片）等，这将势必会成为北京新音乐的一个主要趋势吗？我们拭目以待。

China Free Improvisation成立
China Free Improvisation简称CFI. 即是中国自由即兴音乐，由所熟知的实验即兴吉他手李剑鸿和他爱人Vavabond新发起的一个有关中国即兴音乐的组织平台。在过去的一年，李剑鸿在CFI同时发布了三张环境即兴唱片，分别是《在这里》、《空山》和《十二境》。这是他近两年创作的最新作品。对即兴音乐感兴趣的话可以关注他们的最新动向，china-free-improv.com，也是李剑鸿结束2pi厂牌之后又一个实验即兴声音唱片厂牌。

致命摇篮死乐队
致命摇篮死乐队的诞生好像顿时就轰炸了许多人的耳膜。这是一支两人组合，不过他们也都不是新面孔了，分别来自吹万乐队的吉他手刘心宇和Birdstriking乐队主唱兼吉他手何凡，他同样是Carsick Cars乐队贝斯手。这是一支高能量的组合，他们几乎把自己最擅长的乐器都扔在了一边，取而代之的是人声话筒和键盘乐器等，所捣鼓出来的则是超大颗粒与尖锐的噪声和令人倍感冰冷的机械节奏。听闻他们的首张唱片也正赶忙之中，看来新的一年我们也是有所期待了。

刺耳十二活动
由Pangbianr今年国庆期间在通州小雷音组织的一次活动，邀请了在北京最活跃的实验/即兴/噪音/声音艺术家参于其中，包括李剑鸿，颜峻，李增辉，冯昊，Soviet Pop，昼夜售冰以及小雷音俱乐部主持组合——Nojiji不合作噪音组织。美国著名声音和实验先锋音乐资料网站ubu.com创始人当时也在北京观看了整场活动，实是一次令人热血沸腾的先锋音乐现场。而更令人兴奋的是Josh也给全球最具有影响的先锋音乐杂志The Wire撰稿报道了在北京最重要实验音乐场所——小雷音：小雷音在《WIRE》杂志

Skip Skip Benben重组
Benben来自台湾的独立音乐创作歌手，现工作居住于北京，2010年以Skip Skip Benben为名发表过个人首张专辑No-Fi, No Fiction. 不过，她有过很多音乐计划，然而Boyz and Girl无非是深受很多人所喜爱的乐队，2010年于内陆巡演完后乐队也宣告放停。Benben在北京找来新的乐手重新她的Shoegaze计划，现在的Skip Skip Benben, 贝司手是来自Birdstriking乐队贝斯手周乃仁，而鼓手则是现CSC乐队鼓手猴子。

吹万乐队录制首张专辑
对于吹万乐队的2011，看似是非常忙碌的一年，他们经常出演于北京的小酒吧现场当中，不停地排练，并且也完成了一次国内的小巡演，在音乐的热情上他们真的极为狂热。乐队目前所有录音工作已完成，并且混音工作也即将全部完成。录制工作是由来自洛杉矶著名的音乐制作人Manny负责。首张专辑将收入乐队八首作品，2012年开春我们有望听到他们这张唱片，并且，乐队将发起全国巡演计划，非常令人期待！

FM3混音专辑——和谐福
这是乐队自发邀请15组不同音乐人/乐队参于的一张FM3乐队的唱佛机混音专辑，同时也是FM3乐队自主发行的一张专辑。目前为止是我所听到过国内最好的混音专辑，不过好像在中国很多乐队/乐手互相之间参于重新混音制作并不多见，在国外可能许多独立摇滚乐队与电子音乐人及Hip-Hop等不同风格艺人的合作可谓屡见不鲜 （尽管是以单曲为主），比如The xx乐队成员Jamie xx 为Hip-Hop先驱人物Gil Scott-Heron在过去的一年里就重新混制并发行了一张Dub-Step风格专辑，真的特别耐听。回到’和谐福’这张专辑，他们的设计仍然保持贯有的中国特色，也显得极简——金色的封套，正面一个倾斜的“福”字，心想会是一个全倒的福字，当然他们并没有那么俗。其实，FM3的张荐对设计包装一直是一个持有不同鬼点子的家伙，然而整个平面设计是由阮千瑞负责完成。参于合辑的音乐人有子曰，窦唯，顶楼的马戏团，万晓利，孙大威，李剑鸿，楼南立，欢庆，张佺，林强，黄锦，大忘杠，核桃室，李带果与梁奕源以及杜薇。他们分别以各自的音乐风格重新玩转了一把唱佛机。

Introducing: Share In Obstacles, a new micro-label dedicated to releasing vinyl dispatches from the China DIY diaspora. The label was founded by two musicians: on the China side, Yang Haisong, frontman of P.K.14 and impresario behind numerous domestic touring and recording operations. The other half is Chengdu-born expat-in-Paris Zaza Zhang. Zaza is well known within the Chinese underground, and has already made an impressive mark in her new home. Soon after moving abroad in 2009, she formed Eyes Behind, which completed its first China tour this past summer and more recently opened for Danish teen phenoms Iceage at a sold-out show in Paris.

At the moment, the SIO roster consists of its founders’ side projects: they have released one 7″ for Yang Haisong’s and Sun Xia’s husband-wife hazy pop duo Dear Eloise, and another by After Argument, a duo consisting of Haisong and Zaza.

The label plans to stay small and grow organically, disseminating music with strong personal meaning and building ties between the Chinese and Continental undergrounds. Read on to learn more from Zaza:

Zaza behind the drums (photo by Frederic Loeffler)

pangbianr: First for some general background: where are you from originally? How did you get involved in the Chinese music scene? When did you move to Paris and why? How did you begin Eyes Behind?

Zaza Zhang: I am originally from Sichuan, China. I first went to The Little Bar where there are always the best musical happenings since I was a teenager. I actually grew up with the local music scene in Chengdu. I started doing things for bands like P.K.14 (like being their roadie) since we knew each other years ago. I also toured with Swedish band Insurgent Kid and French band Vialka, etc.

Truth be told, I had this idea to leave for somewhere else since childhood. I do believe that some people are born out of their due place and I am one of them. I have been feeling that I am a stranger in my birthplace even until now. I guess I am the person who is born in a sense of strangeness, and this might send me further and wilder in the reach of things more permanent.

Chengdu is a big city but still, kind of boring. Realistically, life there is much cheaper than any big city in China, people can easily live a life there and be satisfied. I loved living there coz I could simply afford a life and be just satisfied with that as anyone else does in my town, feeling good or whatever, but that’s not what I want from my own life. I knew that my brains were seething with ideas and Chengdu was not the right place to make things happen coz most of people were narrow-minded. It could be a real pain to try to do something cooler.

I moved to Paris in 2009, a year after my younger brother’s death. Coz that kind of sense of strangeness became stronger than ever. Then I left for Paris due to my unrealistic romantic fantasy of this city from my teen years.

When I arrived in Paris, I had an idea to check the local music scene out coz personally music is the biggest concern of my life. And the fifth day I went to a small bar far from where I lived to see a show. That was a show of these two bands called The Feeling of Love (a French band from Metz/Strasbourg) and Movie Star Junkies (from Italy). The show was so great, I suddenly had a strong feeling that I had to make a band as soon as possible. After the show I had a short talk with the musicians, asked any suggestions for me to make a band in Paris. Then Seb, the drummer of The Feeling of Love, gave me the contact of our current guitar player coz he produced an album of her previous all-girl band. Shortly after that, we started texting each other, going out to see the experimental/noise shows together…Later that year we had our first rehearsal together and we wrote our first song during that rehearsal, we felt so excited about that and we decided to make music together.

pbr: Where did the idea for Share in Obstacles come from? What is the significance of the name?

Zaza: I’ve known Yang Haisong for ages but it’s funny coz we never made anything musical together before we started this label.

We first talked about having our own label a year ago but that was not the right time I guess.

Earlier this year P.K.14 had a mini tour in Italy and I went there to see my old friends and tried to help a little bit as their roadie. We made this decision in an instant… after a serious talk in Rome, we decided to make a duo and have our own label the same time. Musically our values are quite the same. We have the same punk/post-punk roots, we are both inspired by the Washington D.C. punk music scene and Umea punk music scene, for our huge love to those greats of indie music history who have created their local music scenes and punk communities as Ian MacKaye and Dennis Lyxzen.

The name Share In Obstacles was an idea Yang Haisong had a long time ago, this guy is really great coz he never stops thinking. I still remember that once he told me if one day he could have his own label, this must be the proper name of it. So this is pretty much like a name that I am so familiar with since long time.

And I agreed with it coz I think for people like us, we’ve chosen our own values to be in this world. We have our own pleasures, which, though different from mainstream, are not less than the pleasures of mainstream. And for us, Share In Obstacles is the best name to describe this situation.

pbr: The first official SIO release is a Dear Eloise single 7″, which is also a co-release with Genjing Records [update: also co-released by Tenzenmen in Australia]. What is the plan for the future? Is Share In Obstacles more of a label, or a distributor, or something in between?

Zaza: The upcoming schedule of Share In Obstacles is releasing the first 7″ of After Argument, the band of the co-founders and owners of this label (Yang Haisong and me). This is pretty much a label that just releases the 7″ of bands involved, like bands we’re in or bands we simply love. It takes time and energy, we will do it little by little, hope things can sort out well.

And in my opinion, Share In Obstacles is something between a label and distributor, but that’s not the most important thing. Coz for us, our main purpose is more about disseminating the music we love and we make, on our own and in our own way.

pbr: The SIO soundcloud page has two songs by After Argument at the moment. Are there plans to release more material from this band? Any plans to continue the band, maybe through email collaborations since you are in Paris and Yang Haisong is in Beijing?

Zaza: Yes our first 7″ has been released. These 3 tracks were written, recorded and mixed when I was in China after my French band Eyes Behind’s tour this summer. I stayed in Beijing for a while just for doing this. For After Argument, we actually don’t like collaborating on the Internet, that’s not our working habit. We much prefer to play together in person to see what’s going on and discuss what we should do. So I do think in the future it will be the same, like every year we try to meet each other at least once or twice to write songs and record them. We’re gonna schedule the tour thing as soon as we have enough songs to play.

pbr: It seems that one of the most important elements of SIO is the fact that you are able to disseminate underground music in Europe. In your opinion, is there much of an awareness of or interest in China over there?

Zaza: The awareness of China is far away not enough in Europe, especially those things about indie music in China. When people talk about Asian music, the first thing flashing into their minds is always Japanese experimental stuff. From my point of view, powerful culture is a factor, but obviously Japanese people are really good at experimental/noise music and they already have some history of this, which though not long compared with the whole music history, is longer than Chinese indie music history.

As the only Chinese face who has been active in French indie music scene, the dissemination of Chinese music could be a little bit easier. You know, being ethnic could be helpful in some way.

Recently my French band Eyes Behind has played with a very good Danish punk band Iceage, I was so glad coz I was asked a lot about Chinese music scene, and I was totally amazed when the singer Elias talked about D-22 and stuff.

I think our love for music is what makes us dynamic with Share In Obstacles, at least, we can do something about it.

Follow Share In Obstacles on Soundcloud and Facebook for streams, updates and ordering information.

Share In Obstacles(分享障碍), 是由两位音乐人成立的专注于黑胶唱片的微型厂牌，他们分别是来自音乐制作人及P.K.14乐队主唱杨海崧和出生于成都现移居巴黎的Zaza. Zaza在内地下音乐也是众人所熟知的，然而现在在她移居巴黎后也已给人们带来了新的音乐想法。2009年她移居海外不久便组建了一支三人Art-Punk乐队Eyes Behind. 同时，去年夏天进行了第一次全中国巡演，最近乐队也在巴黎为丹麦的年轻乐队Iceage作暖场嘉宾。

目前，SIO (分享障碍) 厂牌成员有杨海菘与他爱人孙霞组建的梦幻流行乐队Dear Eloise, 且已经发行了一张7寸唱片，另外还有一支是After Argument, 便正是由厂牌创立者海崧和Zaza发起的一支乐队。

厂牌计划以微型的形式并其自然发展，重点是以强烈个人自由的方式推广独立音乐并让中国和欧洲地下音乐圈有着更紧密的联系，以下采访来自Zaza.

photo by Frederic Loeffler

旁边儿：首先给我们介绍一下有关你的背景，你起初来自哪里？是如何涉及到中国音乐场景？什么时候搬到巴黎以及关于你的乐队Eyes Behind.

Zaza：我来自中国四川，在我十来岁的时候我经常去当地的小酒馆酒吧看现场演出，有很多出色的音乐人和乐队在那表演。实际上我最早接触中国的音乐就是从成都开始的。我当时为乐队P.K.14做一些工作（类似于巡演经纪之类的），我们多年前就互相认识了。同时我也负责过瑞典的Insurgent Kid和法国的Vialka等乐队的巡演工作。

实话说，离开去别处是我童年时就开始有的想法。我相信有些人出生的地方并非适合他们的地方，而我就是这其中的一个。直到现在我仍然感觉在自己的出生地就像一个陌生人。我想这种陌生感可能会令我走得更远去寻求一些内在的稳定。

成都是一个大城市但其实也比较无聊，现实地来说，在那里生活和消费会比中国其他大城市更便宜，是个很适合人们居住的地方，人也因此更容易感到满足。我过去也喜欢那里的生活，因为基本的生活容易负担，我完全可以和周围人一样感到舒服和满足，但那并不是我想要的生活。我很清楚我的脑子里有很多想法，但成都绝对不是实现这些想法的地方，因为多数人的眼界始终比较狭窄，人很难真正去做一些更酷的事情。

我在2009年，我弟弟去世后的一年搬到巴黎，因为那时候那种陌生感比任何时候都强烈。选择巴黎是因为我年少时对这个城市的所有不切实际的浪漫幻想。

刚到巴黎我就想去接触当地的音乐，毕竟音乐对我来说是我生活中最重要，我个人最关心的东西。第五天我去了一个离我当时住的地方比较远的小酒吧看演出，当时有两个乐队演出，分别是法国（梅茨和斯特拉斯堡）的乐队The Feeling of Love与意大利的Movie Star Junkies。他们的现场非常好，我当时就有非常强的冲动想要想尽快做一个自己的乐队。演出完之后我跟乐队成员简单聊了会，关于在巴黎组建乐队的建议，然后The Feeling of Love乐队鼓手Seb给了我现在乐队吉他手的联系方式，他制作过我们现在吉他手上一个全女孩乐队的一张专辑。之后我们互相开始联络，一起去看一些实验噪音乐音乐演出。到年底的时候我们开始了第一次排练当时就写了第一首歌，我们很兴奋，决定要做这个乐队。

旁边儿：关于分享障碍(SIO)这个厂牌，是处于什么想法？这个名字有何意味？

Zaza：我很早认识杨海崧，但有意思的是在我们开始厂牌之前并没有一起任何音乐方面的合作。一年前我们第一次谈起关于成立自己厂牌的事，但我想可能那会儿还不是时候。

2011年初P.K.14乐队在意大利有一个小巡演，我去看看老朋友，也想他们的巡演帮点忙。那会儿我们几乎是立刻决定了这件事，在罗马我们比较严肃的讨论了一次，同时决定我们一起做一个两人的乐队和我们自己的厂牌。在音乐方面我们价值观很一致，同样的朋克/后朋音乐根源，深受华盛顿D.C.和瑞典于默奥的朋克音乐影响，我们共同特别喜欢在独立音乐历史上，为创造他们本地的独立音乐场景和朋克社区做出过贡献的那些音乐人，比如Ian MacKaye(Fugazi, 美国华盛顿)与Dennis Lyxzen(国际噪音阴谋乐队, 瑞典)。

关于厂牌名字Share In Obstacles（分享障碍）是来自海崧很早的一个想法，他真的很棒，从来没有停止思考。我记得有一次他告诉我假如有一天有自己的厂牌，那肯定会是这个名字，所以这个名字对我来说并不陌生。

我完全同意是因为，我们选择了我们存在在这个世界上的一种价值观。跟主流的乐趣相比，我们的乐趣完全不同却也不见得会少。所以对于我们来说，分享障碍(SIO)完全说明了这种价值观和趣味。

旁边儿：分享障碍 (SIO)发行的首张唱片是Dear Eloise乐队的一张7寸单曲黑胶，根茎唱片（Genjing Records）也以同样的方式发行了这张单曲，在未来会有什么计划？SIO更像一个厂牌或是发行商，抑或间于两者之间？

Zaza：接下来SIO正打算发行After Argument乐队的7寸黑胶，这是厂牌共同创立人（我和海崧）发起的乐队的首张唱片，像我们自己的乐队还有一些我们所喜爱的乐队，事实上有很多单只是发行7寸黑胶的厂牌。这需要花费时间和精力，我们会慢慢做，希望我们都可以把它们处理好。

我个人觉得SIO可能会倾向于发行和厂牌之间，不过，这并不是最重要的问题，因为对于我们来说最主要的目的是以我们自己的方式来推广我们喜欢的音乐。

旁边儿：SIO的Soundcloud页面有两首After Argument乐队的作品，还会有更多该乐队的计划吗？或许你们之间通过邮件的方式有更多的合作？

Zaza：没错，我们首张7寸单曲已经发布了，我们写了三首歌曲，并且所有的录音和混音工作都是于2011年夏天在中国结束我的法国乐队Eyes Behind巡演后所完成的。为此我在北京呆了一段时间。对于乐队After Argument我们其实不太喜欢网络的方式进行沟通合作，那不是我们的工作习惯，我们更乐于一起演奏并且可以讨论该怎么样可以做的更好。所以在将来我们也会以同样的方式来做。每年我们大概至少见一两次面，然后一起写歌，录音。在有足够曲目时我们会考虑巡演。

旁边儿：在欧洲推广中国音乐，看来SIO厂牌起着重要的一环，就你个人来说，那有人对中国感兴趣吗？

Zaza：在欧洲他们可能对中国并没有太多认知，尤其是中国的独立音乐。当然人们谈论亚洲音乐的时候，许多人脑子里首先跳出来的都是日本实验音乐，我个人来看，强势文化是一个因素；但很明显日本人在实验噪音音乐方面是有成绩的，他们已经有关于噪音音乐的历史了。尽管相对整个音乐历史来说并不是很长，但比起中国的独立音乐还是要长的多。

作为唯一一个活跃在法国独立音乐场景的中国人，推广中国的音乐可能会比较容易一点，要知道，有些时候民族性还是很有用的。

最近我的法国乐队Eyes Behind与一个非常好的丹麦的朋克乐队Iceage同台演出，当我被问到有关中国音乐的时候我特别开心，他们乐队主唱Elias谈到了D-22酒吧, 我真的特别吃惊。之所以我们有动力去做SIO厂牌的相关事宜，我想是因为我们都热爱音乐，至少，我们能为此做点什么。

Share In Obstacles（分享障碍）厂牌音乐在线和社交站点: Soundcloud, Facebook

《 看中文信息 》

Miji Concert no.7: Ronin and Tea Rockers

Makoto Kawabata + DJ Urine; The Tea Rockers Quintet (Yan Jun, Xiao He, Wu Na, Li Daiguo, Lao Gu)
8:30pm, January 14 2012; 2Kolegas Bar; 80rmb

Origin:
“Because of music, I haven’t become a terrorist.” – Makoto Kawabata

Kawabata and DJ Urine contact Pangbianr via friend in Hong Kong. They plan to start this crazy new project with an Asia tour.

Meanwhile, Sub Jam is curating January’s Miji Concert. It’s a year after the debut of The Tea Rockers. They would like to meet again on the birthday of one member. Drink some tea. And play.

5 years ago Kawabata visited Beijing for the first time. He came with the “Japanese New Music Festival”. 3 of them played 7 different projects including Acid Mothers Temple. One concert was at Waterland Kwanyin no. 42 (2Kolegas Bar) with Beijing group Mafeisan.

2Kolegas Bar is the place where classical guqin player Wu Na was first touched by the underground music scene. It’s Xiao He’s noise laboratory. Once Yan Jun joined Li Daiguo’s stage when he was drunk… a site where Beijing experimental music meets the world. Waterland Kwanyin has retired. Now Miji Concerts are calling for all terrorists of mind and sound: unite!

Report of Waterland Kwanyin from 5 years ago (Chinese only):
mu.subjam.org/yanjun/archives/1043
mu.subjam.org/yanjun/archives/1046

introductions from 5 years ago (EN and Chinese):
mu.subjam.org/yanjun/archives/1033
mu.subjam.org/yanjun/archives/1037

Makoto Kawabata + Dj Urine

This is the brand new project of Makoto Kawabata, founding member of legendary Japanese psychedelic noise collective Acid Mothers Temple, and French underground hardcore/power electronics wizard DJ Urine.

Kawabata met DJ Urine at a show in New Orleans, where they got the idea to play together. Now, finally they are making it come true with a major tour of Asia.

To summarize their own introduction: it’s a new project, separate from Acid Mothers Temple and DJ Urine. In this duo collaboration, Kawabata will use guitar to make a series of harsh psychedelic drones. DJ Urine will be the broken vinyl alchemist & daily life noise collector. They will bring us: psychedelic space-rock , twisted collages and harsh noise cutups, melted kaleidoscope strings; Heavy rock meets “asylum blender psychedelia” and creates a unique combination, which at last disappears into the extrasensory silence…

~ cargocollective.com/djurine
~ acidmothers.com
~ soundcloud.com/dj-urine

The Tea Rockers Quintet

Yan Jun: electronics; Xiao He: guitar/leptop/voice; Wu Na: guqin; Li Daiguo: violin/mbira/jew’s harp/shakuhachi/pipa/voice; Lao Gu: tea ceremony

this is a crazy group. sometimes they drive people crazy by their quiet.

they play improvised. sometimes sounds like ink and wash painting. sometimes they make noise. sometimes the concert turns to a drunk wedding.

each member has different background: noise hypnotist, weird singer/songwriter, academy and award winner, underground multi-instrumental nomad, tea master… different combinations between them have taken place over the past several years. new reaction activated: their first show with this line-up was in Bern, Switzerland, November of 2010, after a nice dinner.

in 2012, their first album “Ceremony” will release on Israeli label Ent-T. Jianghu Changpian taobao store will publish it in China exclusively.

websites:
~ Yan Jun
~ Xiao He
~ Li Daiguo

MIJI no.7 presented by Sub Jam and Pangbianr

密集音乐会第7回：浪人茶博士

河端一 + DJ Urine；茶博士五重奏（颜峻，小河，巫娜，李戴果，老古）
2012年1月14日，晚8点半；两个好朋友酒吧（2kolegas.com, 东风桥西汽车电影院内）；门票80

缘起：
“因为有了音乐，我才没有成为一个恐怖分子”——河端一
河端一和DJ Urine联系了香港，香港的朋友联系了旁边儿：2012年1月，这个新组合将要诞生于一场亚洲巡演。
恰好撒把芥末也在策划1月的密集音乐会。茶博士首演已经一年了，他们要在其中一位成员的生日这天再次聚首，喝茶，顺便演奏。
5年前，老朋友吉田达也带来了河端一，还有贝斯手津山笃，他们三人的项目“日本新音乐节”在北京首演，3个人7种组合，高潮迭起，堪称盛况空前。第2天，他们以酸母寺三重奏阵容，和麻沸散乐队在水陆观音第42期演出，浓烈的迷幻噪音摇滚，让北京观众记忆犹新。
两个好朋友酒吧，巫娜在这里登上地下音乐贼船；小河的声响实验室；颜峻大醉冲上了李戴果的舞台……北京实验音乐和世界相遇的舞台。水陆观音已经是历史了，密集音乐会正在聚合新的能量：声音和精神的恐怖分子们，联合起来！
5年前的演出报告：
~ mu.subjam.org/yanjun/archives/1043
~ mu.subjam.org/yanjun/archives/1046
5年前的介绍：
mu.subjam.org/yanjun/archives/1033
mu.subjam.org/yanjun/archives/1037

河端一 + DJ Urine

这是日本迷幻噪音乐队“酸母寺”的吉他手兼创始人河端一（Makoto Kawabata）和法国地下硬件噪音界鬼才Dj Urine的全新组合。
话说河端一在新奥尔良的一次演出中与Dj Urine相识，然后便产生了与其合作的意向。直到现在才有机会真正实施，并断然以亚洲巡演做为开端。
综合他们自己写的介绍：首先，这是河端一在酸母寺之外，个人计划的一部分。在这个二人组合里，他主要用吉他制造出一系列刺耳的迷幻长音氛围。Dj Urine作为资深黑胶碟片粉碎达人，日常破坏噪声收集者，二人将携手带来：空间迷幻摇滚与扭曲拼贴的变体，加上被融化掉在异端的琴弦，粗噪音切割掺杂左右。似曾相识的重型硬摇滚风骨影响并遭遇疯人院致幻剂的调戏，而最终又把一切打磨、揉碎、分散、直至消失在一片超验的寂静里。
~ acidmothers.com
~ soundcloud.com/dj-urine
~ cargocollective.com/djurine

茶博士五重奏

颜峻：电子；小河：吉他/电脑/人声；巫娜：古琴；李戴果：小提琴/拇指琴/口弦/尺八/琵琶/人声；老古：茶
这是一支疯狂的乐队。有时候他们静得让人发疯。
他们即兴演奏，有时候像山水画，有时候噪音弥漫，有时候像婚礼，酒狂，万马奔腾。
每个人都有不同的背景，成员之间的各种合作，各种冒险，已经持续多年，新的化学反应一触即发：这个阵容的首演，是在2010年11月，瑞士伯尔尼，一顿美妙的晚餐之后。
2012年，首张专辑“Ceremony”将在以色列新古典厂牌Ent-T出版，由江湖唱片国内独家发售。

颜峻：2004年开始实验音乐和声音创作，曾在亚欧美澳各国巡演和参加音乐节；撒把芥末和观音唱片创办人；噪音催眠师。

小河：美好药店乐队主唱；中国怪逼民谣的领袖和惟一成员；用吉他控制电脑，台风既深情又疯癫，暗藏他早年的朋克风骨和后来的实验元素。

巫娜：中央音乐学院古琴硕士；CCTV民乐大赛青年组冠军；丝桐馆馆主；曾和窦唯，崔健，刘索拉等合作；常年周游列国，跨界爵士，多媒体，实验等等领域。

李带果：美籍华人，2005年起长居四川云南，研习中西古典音乐，芬兰印尼印度民乐，爵士，即兴，说唱，会演奏100多种乐器。

老古：自幼品茶，后遇恩师，习茶道，以茶练心，进而以此学习人生之道。现主要从事茶文化推广工作。

由撒把芥末和旁边儿联合出品

pangbianr is excited to collaborate with Yan Jun/Subjam on the 6th monthly MIJI concert. December’s installation is called the Winter Improv Committee and will take place over two days: on Wednesday, December 21st, 8pm there will be a workshop at The Pavilion (B-2503 pingguo shequ, east of Today Art Museum; map here), in which each artist will talk about their working methods and give a short demonstration. The following night (Thursday December 22, 8:30pm) will feature seven improvised solo performances at 2Kolegas. Participating artists include: Yan Jun, GogoJ, Vavabond, Jun-Y Ciao, Zhang Shouwang, Liu Xinyu and Yan Yulong.

More info below:

[+] 豆瓣页面 douban event page

Miji Concert no.6: Winter Improv Committee

Yan Jun (feedback noise and electricity), GogoJ (wave generator, oscilloscope, iPhone and other machines), VAVABOND (laptop and UFO), Liu Xinyu (no-input mixer and flash light), Yan Yulong (Violin and other unknown objects), Zhang Shouwang (guitar and electronics), Jun-Y Ciao (saxophone and clarinet and other blowable objects)

Workshop: Wednesday, December 21st, 8pm; The Pavilion (map); free

7 musicians introduce their instrument and working method. Each talk will be followed by a short solo performance. The purpose is to introduce themselves and their approach to experimenting with music to the other artists and the audience. The 2nd part of the workshop will show the audience the basic principles of improv music and let them join the playing.

This workshop will be held at The Pavilion.

Concert: Thursday, December 22nd, 8:30pm; 2Kolegas; rmb 40
Different combinations dictated by rules, frames, and games of chance

Origin: Even after the end of the Waterland Kwanyin series, Tuesday in Beijing remains dedicated to experimental music: D-22’s Zoomin’ Night hosts all the misfit side projects of non-rock bands. Some of them are leaving the ground, either going down to the underground or flying into aether. They go more immaterial with materialist sound. We call that experimental music and sound event.

The earlier musicians are thirsty to encounter and intertwine as they do, with each other and with the audience…

And in the Winter, time is slow…

Therefore, this workshop and concert: first night at The Pavilion art space and next night at 2Kolegas bar with the best PA and space for experimental music in Beijing.

Because what people need is not just another noisy meeting.

Yan Jun: he uses feedback noise for improvised performance. Sometimes extremely quiet and sometimes extremely drilling. He regards himself as an observer instead of a performer. The instrument contains electronics and, obviously, PA speakers, space and audience.

GogoJ aka SHENG JIE, 1975. Beijing CHINA.
I have focused on the arena of technology looking at its impact on society. Combining video, sound, installation and performance, my work aims to investigating the associations and reflections between high and low technologies. 2010, founded shan audio video lab.

VAVABOND：As one of the few female experimental musicians in Mainland China, VAVABOND began from large volume noise music by using Max/MSP, and concentrating on cosmic sounds and electronic improvisation with Max 5 as the major creative interface nowadays.

Jun-Y Ciao: Artist and improv musician. A Fluxus offspring and free jazz lover. born in Shanghai. 2006 graduate of the Academy of Fine Arts, Duesseldorf, Germany. Member of the free music group MTDM. In 2009, founded the acoustic-electronic project “Power Quality Wood” with Olaf Hochherz.

Zhang Shouwang: As founding member of Carsick Cars, Zhang Shouwang has participated in several international tours and music festivals, including a European tour opening for Sonic Youth. He also performs in experimental noise duo White, originally formed with Shenggy. White is deeply influenced by avant-garde music. Their first record was produced by Blixa Bargeld, frontman of German industrial rock band Einstürzende Neubauten. Zhang Shouwang’s solo work blends many different styles, from experimental noise and avant-garde composition to acoustic folk and electronic music. Acclaimed critic Alex Ross of The New Yorker included one of Zhang Shouwang’s solo improvisational performances in his list of “The Ten Best Classical-Musical Performances of 2008.”

Liu Xinyu: Primarily uses mixer feedback and guitar to create completely meaningless, extremely simple sounds. The noise is also processed through several effects pedals to achieve variation and incremental progressions.

Yan Yulong: I play the violin. Through extremely slow variations of harmony and the movement of sounds, I attempt to draw attention to the passing of time, and to retain the essential characteristic of music.

presented by Sub Jam, Pangbianr and The Pavilion

Sub Jam is the most active experimental music organization in China. Devoted to today’s music and sound. Has organized several hundred concerts. Its sub-label Kwanyin Records (formerly Sub Jam Records) has released more than 60 titles of underground music, experimental music and sound art works.

Pangbianr is a platform for exploring the lived culture of making music in China. Its mission is to produce, distribute, and promote underground Chinese music and to build relationships between musicians, filmmakers, and visual artists both within China and internationally. Pangbianr.com is a resource for discovering avant-garde and emerging music from Beijing and elsewhere in China via streaming audio, video, reviews, interviews, and articles about independent Chinese art, music, and film.

The Pavilion：For one year, a series of events are taking place in “the Pavilion”: activities in the form of courses, seminars, performances, and discussions. Each aspect of these experiments will be related to daily practices and rituals, training and maintaining; with special attention paid to intense public discourse (with the intention of investigating the nature of public space). Furthermore, these events will serve to explore and incubate the roles of individuals and organizations in this common experimental space. This organic space will include a variety of dimensions, each section individually is as equally important as the year- long program as a whole. We feel it could be very interesting to connect these different daily life situations or ‘acupuncture points’, thus shaping both the space around us and the form and value of the Manifesto.

We are trying to extend the boundaries of a public space beyond the limited space of galleries, offices and exhibitions. The communication we are trying to build around The Pavilion, through the interventions of different people from different fields, will thus extend its spectrum of research to the subject of rhythm and velocity. This possibility will hopefully widen our understanding of communication and human interactions to different unexplored levels related to the contemporary world and its everyday pace.

密集音乐会第6回：冬季即兴委员会

颜峻（反馈噪音和电流），GogoJ（波形发生器，示波器，爱疯及其他），VAVABOND（电脑和不明飞行物），刘心宇（调音台无中生有和闪光灯），闫玉龙（小提琴和其他可疑物体），张守望（吉他和电子），照骏园（待定）（萨克斯和单簧管和其他中空物体）

工作坊：12月21日，晚8点；观心亭（site.douban.com/theshop）；免费
7位乐手分别介绍自己的乐器和工作方法。并做简短表演。用这种方式相互了解，并为普通观众剥去实验音乐神秘的光环。工作坊的第2部分，是演示最基本的即兴演奏原则，让参与者开始自己的演奏。这个工作坊会持续进行，请保持关注。
音乐会：12月22日，晚8点半；两个好朋友（http://2kolegas.com）；门票40
各种抽签，掷骰子，游戏规则。各种组合和限制。

缘起：
“水陆观音”结束后，北京的星期二仍然留给了实验音乐：D22酒吧的“燥眠夜”活跃着一些非典型摇滚乐队的分支组合。他们中的一些人离地面越来越远。要么向下，要么向上，和非物质的事物相互缠绕。这就是被称之为实验，纯粹声音，精神体验的事件。
那些稍早一点开始创作的乐手，和他们一样渴望相遇和碰撞。包括和观众的，更深的相遇，更多侧面的碰撞。
冬天，闲着也是闲着。
所以有了这次工作坊和演出。先是在观心亭，借它的空间，气场，潜在的艺术脉络。后在两个好朋友，北京最适合实验音乐的音箱/空间。
因为大家想要的，并不仅仅是又一场聒噪的演出而已。

颜峻：他用反馈噪音做即兴演奏。这是一些自己决定自己命运的声音。空间，音响，还有观众都会影响到它的变化，因此演奏者更像是一个观察者。

GogoJ，原名盛洁，1975年生人，北京，中国。
从事声音与影像的艺术创作。关注由高科技所引发的低科技反思。作品形式包括：录像, VJ, 噪音，装置，行为。2010年创办shan视听实验室，一个以教学为平台的新媒体艺术交流私人工作室。

VAVABOND是使用Max/MSP演出噪音音乐的女性艺术家。她的声音基本来源于颗粒质感的电子声响、电波频率交界处的噪音、昆虫震动发出的鸣响、宇 宙射线、麦田怪圈、息和光，强大的声波在噪声中交织出奇特的私密空间。除个人SOLO计划外，还与李剑鸿组成迷幻噪音组合“迷走神经”和环境即兴组合“不可能的可能性”。她曾参加多次国内实验/噪音和新媒体艺术活动，包括NOIShanghai、2pi唱片的“出神”巡演、2007大声展的“听游记”和 “咖喱秀”项目、2pi音乐节、上海美术馆主办的“果冻时代”展览、 “重织城市”香港/深圳建筑双城展、上海电子艺术节、2009年先锋音乐节等。

照骏园：艺术家，即兴乐手。深受自由爵士和激浪派艺术鼓舞。出生于上海。2006年毕业于德国杜塞尔多夫艺术学院。2005年与陶轶共同组建自由音乐乐团“没腿的马（MTDM）”。2009年建立了一个和电子乐手Olaf Hochherz的合作项目“木电质（Power Quality Wood）”。

张守望：CarsickCars成员，乐队曾多次赴国外音乐节演出，并曾在欧洲与Sonic Youth乐队巡演，他还与沈静组建了噪音实验乐队White.这支乐队深受先锋音乐的影响，并在德国工业摇滚殿堂级乐队E.N.主脑Blixa Bargeld的制作下完成。
其个人计划的计划也跨越多种音乐风格，从实验噪音，先锋作曲到不插电民谣和电子音乐，个人的吉他solo演出曾被《纽约客》杂志著名的乐评人Alex Ross评为当年最好的十场演出之一。

刘心宇：主要使用调音台反馈和吉他来演奏毫无意义的极简声响，并经过效果器使其变奏或循序渐进。

闫玉龙：
我演奏提琴
通过极度缓慢变化的和声以及声相移动
希望在时间推进的同时也能保有音乐性。

由撒把芥末，旁边儿，观心亭联合出品

撒把芥末（Sub Jam）是中国最活跃的实验音乐组织。致力于国内外最前沿的音乐和声音探索，曾经策划过数百场演出。旗下观音唱片（前身为铁托唱片），共发表超过60种地下音乐，实验音乐，声音艺术作品。

旁边儿是一个致力于探索中国当代艺术和地下音乐文化的网络平台。我们的初衷是制作，推广和传播中国地下音乐，并力图与各国音乐家和多媒体艺术家建立合作关系。
Pangbianr.com是一个分享资料库，我们挖掘来自北京和中国各地的前卫实验音乐和新音乐创作者，通过添加mp3试听,原创影像，活动评论，当事人采访以及专栏文章来关注中国独立音乐、艺术和影像，并在第一时间与大家分享。

观心亭：
如果说，艺术家的日常创作实践是通过物质形态的转化，保持其日常精神敏锐，以达到能量流动的根本之道的话，那么，如何建构一个日常空间能呈现这种能量的流动？
如何通过人为建构去达到”自然状态”？
在今天，艺术如何持续并达到对生命的”养护”？
“观心亭”也许是一个有意识”空”的空间，从而来养护精神生活。
地址：百子湾路苹果社区北区2号楼B座2503（今日美术馆附近）

几个月前香港的Rolf跟我说，酸母寺的河端一和法国硬件噪音艺术家DJ Urine要在年初做一次亚洲巡演。我想到了五年前河端一携酸母寺众神和麻沸散军团的历史性会晤，但遗憾的是那一次我鬼使神差地错过了。
五年过去，有人开始续写约定了。

Several months ago, Rolf from Hong Kong contacted me to book Beijing shows for Kawabata Makoto & DJ Urine‘s Asia tour. It reminded me that 5 years ago, Kawabata, founding member of legendary Japanese psychedelic noise collective Acid Mothers Temple, had a really astonishing meeting and show with Mafeisan in Beijing. Unfortunately I missed it.

Now, after 5 years, we will continue the tradition.

2012眼看着快到了，何尝不让人兴奋，心想这或许是无国界打酱油的最佳时期。

这一次我们很有幸再次携手小雷音和撒把芥末，为大家奉上Makoto Kawabata + DJ Urine 亚洲巡演北京站的春节前饕餮大餐。

2012 is coming soon… what an exciting moment. This is as good a time as ever for international underground exchanges and parties. Because soon we will have no nationalities. We’re all foreigners.

Now pangbianr is very honored to collaborate with Raying Temple again. Right before Chinese New Year we’ll serve up a gluttonous feast for lovers of the loud and deep underground.

话说五年里风云幻变，曾经隐居在小雷音里的破坏狂和躁郁症患者、异教徒和变态虚无主义者，乌托邦诗人们也都相继变种进化，将周遭建成了一派冰火交融，迷离通透的圣坛。身处其中，轻触鼻息，鬼气如兰，遮目转身，水中超兽绚烂…….感官容不下的也都在瞬间流进了那永不消失的电波中去。

小雷音这一站，毋庸置疑地作为本次盛宴的第一站，将带领大家开启通往后2012的神秘幸福之门, 共同先锋地制造新好生活态度。

A lot has changed in 5 years… the wild destroyers, cyclothymes, heathens, sick nihilists and utopian poets who buried themselves in Raying Temple have all evolved in different directions.They’ve changed the palace into a dizzy and pure altar with a mix of ice and fire.

Raying Temple is the first stop for Kawabata & Urine. We will help people open the exciting and mysterious door to 2012, help build a better attitude towards life with the avant-garde spirit.

两大桌药膳如下：
麻沸散与唵，古方加萨满仙丹，依旧功效超凡。
太空异端空间站派来迷走神经，它将入侵并改善或扰乱您的坏死组织。

As openers, various medical practitioners:

~ Mafeisan and ONG, traditional medical treatment plus a special Shamanic ingredient, high efficacy.
~ An obscure intergalactic council sends Vagus Nerve, they will invade and improve or infest your damaged necrotic tissue.

音乐家的信息 artist info:

Kawabata Makoto + DJ Urine

这是日本迷幻噪音乐队“酸母寺”的吉他手兼创始人河端一（Kawabata Makoto）和法国地下硬件噪音界鬼才Dj Urine的全新组合。
话说河端一在新奥尔良的一次演出中与DJ Urine相识，然后便产生了与其合作的意向。直到现在才有机会真正实施，并断然以亚洲巡演做为开端。
综合他们自己写的介绍：首先，这是河端一在酸母寺之外，个人计划的一部分。在这个二人组合里，他主要用吉他制造出一系列刺耳的迷幻长音氛围。DJ Urine作为资深黑胶碟片粉碎达人，日常破坏噪声收集者，二人将携手带来：空间迷幻摇滚与扭曲拼贴的变体，加上被融化掉在异端的琴弦，粗噪音切割掺杂左右。似曾相识的重型硬摇滚风骨影响并遭遇疯人院致幻剂的调戏，而最终又把一切打磨、揉碎、分散、直至消失在一片超验的寂静里。

This is the brand new project of Makoto Kawabata, founding member of legendary Japanese psychedelic noise collective Acid Mothers Temple, and French underground hardcore/power electronics wizard DJ Urine.
Kawabata met DJ Urine at a show in New Orleans, where they got the idea to play together. Now, finally they are making it come true with a major tour of Asia.
To summarize their own introduction: it’s a new project, separate from Acid Mothers Temple and DJ Urine. In this duo collaboration, Kawabata will use guitar to make a series of harsh psychedelic drones. DJ Urine will be the broken vinyl alchemist & daily life noise collector. They will bring us: psychedelic space-rock , twisted collages and harsh noise cutups, melted kaleidoscope strings; Heavy rock meets “asylum blender psychedelia” and creates a unique combination, which at last disappears into the extrasensory silence…

麻沸散 MAFEISAN

中国，2005年初，在NOJIJI部落出现的一只具有代表性的乐队。
排斥一切定性的思维和习惯性欣赏制造的方式；拒绝向群体的真理妥协；孤僻丑陋恶臭淫色；否则不允许观看；
他们的现场可以使人中枢神经信号传导速度提高，抑制焦虑，促进肾上腺素的分泌，并在强力气场中引发思维重组。他们将思维定向于聚解，重组及瞬间释放中，并从中展现能量无比的气场。

China, early 2005, appears a representative of the emergent NOJIJI tribe.
Excluding all determinative modes of thinking and customary manufacturing methods; refusing to compromise the truth of the community; antisocial, ugly, malodorous and depraved vibes; otherwise, you are not allowed to watch;
Their physical presence can increase the functioning of the central nervous system, inhibit anxiety, promote adrenaline secretion, and create a gas field caused by intense re-thinking. They will gather thoughts directed at the solution, restructure and, in an instant, release, and from the gas field emit tremendous energy.

ONG（中文：唵 梵语咒音）

群体性质虚无团体，善于开辟整体性个体崭新的宇宙，萨满意识，迷幻空间，混沌行为，海神，天神，超金刚。
那年11月19号排练来了15个人，2条狗和几个村子里的小孩，大家围坐在小雷音*排练室的地毯上从下午玩到天黑。有点挤，有点乱，但每个人都很认真，笑声、喊叫、咳嗽、音箱杂音和乐器在一起形成声音的洪流，我们在里头流转，喜悦浮现在有点害羞的脸上。。。。
道场：-小雷音俱乐部
人士：实验声音探索者，画画的，同性恋，设计师，足球队员，学生，精神失常者，诗人，艺术家，寻道者，少女，银行职员，居士，处男，嬉皮，。。。。。

Groups, the nature of nothingness groups, are good at opening up a new universe of individual integrity, shamanic consciousness, psychedelic space, chaotic behavior, Poseidon, god, super-Vajrapani.
Several years ago on November 19 rehearsals were held with 15 people, two dogs and a few children from the village, everyone sitting around on the carpet of the small Raying Temple practice room, playing in the dark. A bit crowded, a little chaotic, but everyone was very serious. Laughter, shouting, coughing, speaker static and instrumental sounds together formed a flood. We circulated inside, joy passed through us and bit of embarrassment registers on our faces. . . .
place of enlightenment: Raying Temple
members: Experimental Sound Explorers, painters, homosexuals, designers, football players, students, mental patients, poets, artists, seekers of the path, girls, bank clerks, hermits, virgin, hippies. . . . .

迷走神经 Vagus Nerve

迷走神经由李剑鸿(吉他)和VAVABOND(笔记本电脑)组成。
两人在06年年底就构思组建了这个组合。他们都是六七十年迷幻乐的爱好者，然而他们又对宇宙、太空、鬼片以及中国的神秘主义事物兴趣盎然。把这些信息与爱好集中到一种音乐里去是非常有意思的。他们所营造的太空并非是一片死寂，而是充满了来自宇宙各方面庞杂混乱的信息。迷走神经将这些信息垃圾、太空垃圾─以噪音和迷幻乐的形式重新组合成他们自己的宇宙。
他们的首张专辑《LoPan》是以中国罗盘上的符号、数字和文字为主题的一张作品，已由美国 Utech Records 出版，第二张专辑《Too High To Die》是一张近一小时的迷幻之旅，第三张《回到天狼星》也即将出版。
无论是专辑还是现场，迷走神经都是一支即兴又充满能量的组合。

Vagus Nerve was founded by Li Jianhong (guitar) and VAVABOND (laptop) in 2006.

They are fans of psychedelic music from the 1960s and 70s and enthusiastic followers of the mysteries of the cosmos, ghosts, and other supernatural phenomena. Combining all their interests into their music, they create an outer space not of deathly silence, but rather filled with mental detritus and wasted information from every corner of the universe.

Their first album, Lo Pan (released in 2008 by Utech Records), was inspired by the symbols, numbers and characters of the lopan, an ancient diviner’s compass. Their second album, Too High to Die, was a psychedelic trip that lasted about one hour. The third album, Back to the Sirius, will be released soon.

Whether on recording or in live performance, Vagus Nerve is an improvisational duo brimming with energies and capabilities.

Saturday 12/3, Psychedelic Winter showcase:

~ DJ Strausss (Enya/Nirvana mashups)
~ 小红与小小红 (Dr. Zhu and Mrs. Zhao whir contact mic melodies)
~ Alpine Decline (introspective drum + guitar brain echo ballads)
~ Chui Wan (two people on the ground, two people floating)

@ What Bar
10pm
20元