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【專訪 INTERVIEW】Yongsi 泳思

(Scroll down for English Version)


連結收聽 Yongsi泳思 為 HKCR 特製的 Select Mix 歌單

(Currents.FM/ Spotify)



已近兩年。每天消去外在的毒。每天隔著口罩,幽閉地對話。如此不斷重覆,以前的日常——我們與外界的關係——面目幾近模糊不清。以至,我們開始想像一個還可直接地擁抱世界的過去。但形形式式的消毒劑和口罩,林林總總的壁壘和分界,不也存在於「以前」嗎?——最終,所謂我們與外界的關係究竟為何

在其剛於8 月推出其首張EP《Is anybody out there?》,旅居日本的樂手Yongsi遊戈於自我與他者的邊界,在語言的模糊間,重新叩問「我」為何物。

もうすぐで2年が経つ。殺菌されまくる毎日とマスクに隔離される会話。それまでの生活、外部と私たちとの関係が忘却の彼方に消えていき、やがて私たちは、まだすぐに世界を受け入れることができた過去を想像し始める。しかし、さまざまな形の除菌剤やマスク、さまざまな障壁や境界線は、「過去」にも存在していたのではないのか。外部と自分の関係と呼ばれるものは、結局何なのか。

日本を拠点に活動するアーティスト、泳思は、8月にリリースした1st EP「Is anybody out there?」にて、自己と他者の境界を彷徨い、言語の曖昧さの間で「私とは何か」を再び問いかけようとしていた。

訪問:gari



Q1. 你好,Yongsi。可以簡單介紹一下自己嗎

初めまして、泳思。あなたのことを少し教えてください。

你好,我叫泳思。泳思是我媽取的本名,意思是「願你的思緒萬千如永恒的流水一般生生不息」。我生於中國貴州貴陽,是大山里出生,地球上長大的孩子。我從12歲開始作詞作曲,在2019年的時候發佈了我的第一首數碼單曲——〈Where I Will〉。現在,人們把我歸類成「藝術家」。


こんにちは、私の名前は泳思です。母がつけてくれた本名で、「あなたの感性が無限の水のように永遠に流れるように」という意味が込められているらしい。貴州省貴陽市の山生まれで、地球育ち。12歳に作曲を始め、2019年に初のデジタルシングル「Where I Will」をリリースしました。今、人々に「アーティスト」と呼ばれていると思います。


Q2. 當初為何選擇旅居日本?

日本に行ったきっかけは?

沒有特别的理由,就是覺得是時候該去下一站了,所以其實哪裡都是可以的。

特別な理由はなかった。ただ、そろそろ次の場所に行くべきだと思いました。正直どこでもよかった。


Q3. 從中國到日本,這年又從京都轉到東京,這種跨語言、跨地域的經驗對創作有什麼影響?

中国から日本へ、そして今年は京都から東京へ移住したと思いますが、こうした言語や地域を超えた経験は、あなたの音楽にどのような影響を与えていますか?

事實上我也曾在美國和英國居住過一段時間,在英國的居住期間我獨自環游了歐洲一段時間,可以說在海外的時間至少占了我人生的三分之一。這一系列的經歷促使我對時間、空間、萬物以及人情有了些許個人的看法,這些思緒有一部分反應在了我的作品中,而剩下的部分所帶來的意義目前尚未明了,還有太多發生過以及正在發生或是即將發生的點點滴滴都值得我去慢慢摸索。如果要造一個句來描述我精神上所品嘗到的一切,我想我會把它形容成「不以載體而存在的有序的混沌」。

実はアメリカとイギリスにも住んでいたことがあります。イギリスにいたときは、ヨーロッパを旅行していたこともあって、海外で過ごした時間は私の人生の3分の1を占めているのではないかな。このような一連の経験は、時間、空間、物事、そして人間性についての考えを深めるのに役立っています。一部は作品に反映されているけど、残りの部分の意味はまだわかっていないかも。起こったこと、起こってること、そしてこれから起こるかもしれないことのすべてが、落ち着いてゆっくりと探求されるべきだと思っています。心に浮かんだ気持ちを一言で表現すると、「担い手のいない秩序のある混沌」という感じですかな。



『如果要造一個句來描述我精神上所品嘗到的一切,我想我會把它形容成「不以載體而存在的有序的混沌」。』





Q4. 你怎樣看京都的 scene?於京都活動時,有沒有一些經常交流的樂手?

京都についてはどう思われていますか?京都で活動していた時に仲良くなったアーティストはいましたか?

京都比起我去過的其他城市要内向很多,但就像内向的人一樣,那些被藏起來的有趣的事物你是要花時間去摸索的,有些地方如果没有人介紹,你甚至連進都進不去,在日語中這叫做「一見様お断り」。因此人脈就變得非常重要,好多優秀的藝術家就像京都的血液,在看似古老幽静的建築之下川流不息。

比如我經常去的酒吧「KAZU」隱藏在兩棟建在停車場背后的高樓的夾縫之間,要是没有人帶你你會以為那里禁止通行,在那里你會遇到很多帶着光怪陸離的想法來買醉的人。

又或是離市區比較遠,藏在住宅區之間的空間藝術會場「外」,在那裡我開了離開京都之前的最後一場live,策劃這場event的人是我非常尊敬的去年才從東京移居到京都的在日本非常有名的DJ Kotsu,很多他的藝術理念我都非常有感觸,能發展到今天這一步真的受到了他非常多的照顧。同場演出的藝術家還有sound designer/ dancer lyo Taniguchi 和sound maker/ DJ E.O.U。我和Lyo Taniguchi在去年一起制作了他的EP《Nichts》,我擔任了EP全四首作品的作詞作曲人聲和命名,這段制作經歷在很大程度上幫助我找到了自己的曲風。

京都は今まで行ったことのある他の都市に比べて、より内向的な都市だと思います。でも、その内向的な人たちと同じように、隠れた魅力を深く掘り下げようと思ったら、時間をかけなければならないかもね。誰かに紹介してもらわないと入れない場所もありました。日本語ではこれを「一見様お断り」と言います。だからこそ、人脈が大切でした。多くの優れたアーティストたちは、京都の血のようなもので、アンティークで落ち着いた印象の建物の下でシームレスに流れています。

例えば、私がよく通っていたバー「KAZU」なんですが、駐車場の奥に建つ2棟のビルの間に隠れている。誰も連れてきてくれないと、入り口さえ目に映さないほどです。あそこでは、色んな理由を持った酔っ払いに来る面白い人たちにたくさん出会えます。

あるいは、ダウンタウンから離れた住宅街にひっそりとある空間芸術のハコ「外」。京都を離れる前の最後のライブはそこで行いました。このイベントを企画したのは、去年東京から京都に引っ越してきた、私が尊敬しているDJのKotsuです。私は彼のエンターテイナーとしての考え方に多くの影響を覚え、彼のおかげでここまで来ることができたとも言えます。このイベントには、サウンドデザイナー兼ダンサーのLyo Taniguchiや、サウンドメーカー兼DJのE.O.Uも出演していただきました。Lyo Taniguchiとは、昨年、彼のEP『Nichts』を一緒に制作し、4トラックのEPで、作詞、作曲、ボーカル、ネーミングを担当させていただきました。この制作経験によって、自分の音楽スタイルを辿り着くこともできたと思います。


Q5. 現在的音樂路線受到了那些樂手或作品的影響?
現在の音楽スタイルに影響を与えたアーティストや作品を挙げてください。


受影響最大的還是古典音樂,特别是蕭邦跟德彪西。最近受電影配樂的影響比較大,其中最喜歡Jóhann Jóhannsson, Apparat和Jun Miyake。但本次作品的靈感來源於Pink Floyd。

一番影響を受けているのは、やはりクラシック音楽で、特にショパンとドビュッシーですね。最近では、映画のサウンドトラックにも影響を受けています。Jóhann JóhannssonやApparat、三宅純が特に好きです。とはいえ、このEPは特にピンク・フロイドに影響を受けています。



Q6. 《Is anybody out there?》中,每個詞——包括「?」——各自斷成一個個曲名。為什麼選擇以這種方法編排曲目?

「Is anybody out there?」の各曲名については、「?」も含めて、それぞれの単語がトラックタイトルに分解されていると思いますが、なぜこのような構成にしたのですか?

每一個曲名在我心中其實和每一首歌的詞和旋律是相對應的,而他們連起來又是一個完整的句子,對於本次的作品而言每一首歌連起來又是一首更加龐大的曲子。

第一首〈Is〉以英語語法的角度來看,以「is」(be動詞)開頭的句子一定是一個疑問句,這也是為甚麼〈Is〉中使用了帶有民族和原始感的鼓點和旋律,人聲部分模仿了狼的嚎叫聲,並在結尾部分使用了reverse的編曲,目的是想把時間線和空間點拉回世界還是只有大山大河一切都還是未知的年代,從而喚起人們心中最本能的情感。

〈anybody〉是關於狹義的「我」與廣義的「我」之間所進行的意識形態上的談話。第一視角闡述的是以狹義的「我」作為「我」活在這個目能見手能觸的世界所感受到的可言語化的情感。第二視角代表的是廣義的「我」作為「我」/ 「我們」活在意識空間(異次元)所感受到的不可言喻的情感。而這裡所提及的任何一個「我」/ 「我們」可以是任何一個人。

〈out〉想表現的是上述所提到的所有人或意識形態衝破任何一种形態的牆,相互體會最後到達一個頂點融為一體的狀態,而那個頂點就是〈there〉,但〈there〉到底是哪裡,那個狀態到底是甚麼模樣,誰也不知道,所以最後以〈?〉結束。

〈?〉的僅僅是把我開始制作這個EP的那一天的記憶像獨白一樣念了出來,就像從天際旅行終於落地歸根了一樣,所有天馬行空的幻想和混沌的答案最終終結於〈?〉,一個最平凡無奇的瞬間,而那些瞬間所帶來的力量就好像游走在我身邊的暗流,為此我仍願意在任何一個隨機的瞬間醒來。其實打個最好理解的比方,整個EP的構造就好像出生或者死亡或者性愛一樣哈哈哈。



私にとっては、どの曲も歌詞とメロディが対応していて、それらがつながって一つのセンテンスになっています。今回の作品では、1曲1曲がつながって、1つの作品になってる感じです。

英文法では、「is」(動詞「be」)で始まる文は必然的に疑問文になります。だからこそ、1曲目の「Is」では、トライバルでプリミティブなビートやリズムが使われ、オオカミの遠吠えをボーカルで模倣し、エンディングではリバースでアレンジされています。その目的は、時間と空間を、山と川以外はまだ何もなかった時代に戻すことで、そうすると人間の最も本能的な感情を呼び起こすことができるのかなと思って作りました。

「anybody」では狭義の「私」と広義の「私」との思想的な対話をイメージしています。第一視点で描かれているのは、見たり触れたりできる世界に生きている狭義の「私」の、言語化可能な感情で、第二視点では、意識空間(異次元)に生きる広義の「私」の言語化できない感情を表しています。ここでいう「私」や「私たち」は、誰でもあること。

「out」は、上述したすべての人々やイデオロギーが、あらゆる形で壁を突き破り、お互いを経験し始め、最終的にひとつになったときの状態を提示しようとしています。その頂点がまさに「there」にある。しかし、「there」は一体どこなのか?どのような状態なのか?それは誰にもわからないので、「?」で終わらせました。

「?」では、このEPを作り始めた最初の日の記憶を独白のようにただ単に喋っているだけ。まるで宇宙旅行を終えて地球に戻ってきたかのように、様々な空想や混乱した答えが「?」という最もありふれた意外性のない瞬間で終わっています。そして、この瞬間に発生したパワーは、私の周りにあるアンダーカレントのようなもので、いつ目が覚めてもいいようになっているのです。端的に言えば、EP全体の構造は、生や死、セックスのようなものです。



『一個最平凡無奇的瞬間,而那些瞬間所帶來的力量就好像游走在我身邊的暗流,為此我仍願意在任何一個隨機的瞬間醒來。其實打個最好理解的比方,整個EP的構造就好像出生或者死亡或者性愛一樣哈哈哈。』




Q7. 相比此前兩首單曲,《Is anybody out there?》似乎更注重表現人聲和言語的朦朧曖昧。這與EP的創作理念有沒有關係?


前の二作のシングルに比べて、「Is anybody out there?」は、人間の声の不明瞭さや曖昧さをより強調しているように感じますが、これはこのEPのアイデアと何か関係がありますか?

非常有關係。但這背後關乎到的創作理念牽扯到了太多東西,所以我目前只想提及其中一個小小的思考。在習得多語言之後,我有一個非常深切的感受,就是「語言(符號)」很多時候不是在幫助我們溝通,而是在促使各種誤解和猜想,因為語言和物質之間的關係是隨機性的。好多時候我會常常感覺到被語言「出賣」了,這並不是空口無憑的胡說八道(也可能只是因為我太不會聊天),而是關乎到語言學上一個「雞生蛋蛋生雞」的問題,俗稱薩丕爾沃夫假說,感興趣的話可以去了解一下,真的非常有趣。但我想說的是,好多時候語言能夠給我們提供的信息比我們想像的要多得多,而有的時候卻少之又少。在那之中有真有假,如何判斷,最終還是要去問我們自己的内心。暫時的敵對和盲目的跟随都是枉費,所以不管是誰給你提供了甚麼樣的選項,你都應該去感受和尋找屬於自己的真相。只用了解了你自己,你才有可能去了解和善待他人。

たくさんあると思います。ただ、このアイデア全体に関しては、単純に話すことがたくさんあるので、今回はちょっとした考えをここで共有したいと思います。いくつかの言語を学んでみて、「言語」(象徴)は私たちのコミュニケーションに何の役にも立っていないどころか、さまざまな誤解や憶測を引き起こしているように感じています。それは、言語と物質の関係が本質的にランダムなものだからです。私はいつも言語に「裏切られている」と感じてしまっています(会話が下手なだけかもせんけど)。一般に「サピア・ウォーフ仮説」と呼ばれる言語学の「鶏と卵のパラドックス」のような問題やけど、興味のある方は調べてみてください。結構おもろいですよ。とにかく、私が言いたいのは、言語によって伝達される情報は、常に私たちが聞いたことよりもはるかに多いか、はるかに少ないかのどっちかってこと。真実と偽りが共存しているから。判断の仕方というのは、結局のところ自分自身に問いかける必要があります。一時的な敵意と盲目的な追従はすべて無駄になること。だから、誰からどんな選択肢を与えられようと、それが何であろうと、常に自分自身の真実を感じ、追求しようとするべきなのです。自分自身を理解して初めて、他人を理解し、相手を優しく扱うことができるようになるのです。


Q8. 這次的EP由Yosi Horikawa負責混音和mastering。兩位合作的契機是甚麼?合作過程中有沒有什麼有趣的經歷?

このEPのミックスとマスタリングはYosi Horikawaが担当していると思いますが、このコラボレーションはどのように始まりましたか?また、今回のコラボレーションで何か面白い経験はありましたか?

Yosi Horikawa是我在京都時相識的一位DJ Alex介紹的,我們只通過郵件交流過,還沒有見過面。要說有趣的經歷的話,對於我來說應該是在他幫我混音的期間我一直無限循環他的〈bump〉,就為了想像他到底會怎麼美化我的作品哈哈哈。

Yosi Horikawaを紹介してくれたのは、京都で知り合ったDJのAlexです。ずっとメールでのやりとりしてたので、今でも直接に会ったことはないです。面白い体験といえば、彼が私の作品をどのように完成してくださるのかを想像するために、彼の「bump」をずっとループしてたことかな(笑)。



Q9. 原音樂器、田野錄音與電子音聲在你的創作中分別有什麼作用?在作品中,三者有著怎樣的關係?

あなたの音楽において、アコースティック楽器、フィールドレコーディング、電子音はそれぞれどのような役割を果たしていますか?また、その3つはどのように関連しているのでしょうか?

原音樂器是我作品的地基,我一般在寫歌的階段只用鋼琴。田野錄音只是我的個人愛好,我還是在靠近自然的地方比較放的開一點。而電子音是為了加重整體的龐大感。

アコースティック楽器は、私の作品の基礎となるもので、いつも作曲する時はピアノしか使わないので。フィールドレコーディングはあくまでも好みなので、自然に近い方が自由な感じがします。一方、電子音は作品全体に巨大さを加えるために使ってます。




所以不管是誰給你提供了甚麼樣的選項,你都應該去感受和尋找屬於自己的真相。只用了解了你自己,你才有可能去了解和善待他人。




Q10. 能分享一下未來的計劃或展望嗎?

今後のプランを教えてください。

有可能會嘗試發佈一張只用鋼琴和人聲錄制的即興演奏的專輯。

ピアノと人の声だけで録音した即興アルバムを出してみようかなと思っています。



Yongsi 泳思的首張EP 《Is anybody out there?》現已發行。


Listen to the Select Mix created by Yongsi for HKCR (Currents.FM/ Spotify)


It has almost been two years. Every single day is sterilized, with conversations quarantined by the masks. Our life before – the relationship between the external and us – has been fading into oblivion, that we eventually start imagining a past that we still could immediately embrace the world. But didn’t various forms of sanitizers and masks, different barriers and dividing lines, also exist in the “past”? What is ultimately the thing that we call the relationship between the external and us?

With her first EP “Is anybody out there?” released in August, the Japan-based artist, Yongsi tries to wander around the borders between the self and the other, asking the question “What am I?” again in the ambiguity of language. 

Interview by gari



Q1. Hi, Yongsi. Tell us a bit about yourself.

Hi, my name is Yongsi. It’s my real name given by my mother, which means “may your sentiments be infinite, as everlasting as the eternal flowing water”. I was born in the mountains of Guiyang, Guizhou, but an Earth brought up child. I started composing songs at the age of 12, and released my first digital single Where I Will in 2019. Now I think people would categorize me as an “artist”.


Q2. What brought you to Japan in the first place?

With no special reason. I just felt like it’s time to move on to the new place. Honestly, it could be anywhere.


Q3. Moving from China to Japan – once again, from Kyoto to Tokyo this year – how do such translingual and transregional experiences influence your music?

In fact, I had also lived in the US and the UK for some time. When I was in the UK, I had also been travelling around Europe for a while. Time I spent overseas probably takes up one-third of my life. This series of experiences help me develop some ideas concerning time, space, materials and humanity as well. They are partly reflected in my works, while the meanings of the remaining parts are still yet to be known. Every bit of the happend, the happening, and the going-to-happen deserves to be explored calmly and slowly. If I were to depict what came across my mind with only one sentence, I would say it feels like “an orderly chaos that exists without a bearer”.


Q4. What do you think about the scene of Kyoto? Were there local artists that you got along with when you were active in Kyoto?

Kyoto is a much more introverted city compared to others that I’ve been to. But just like the introverts, time has to be spent if you want to dig deep into those hidden gems. You can’t even get into some places if you’re not introduced by someone – in Japanese, this is called “Ichigen-sama-okotowari” (一見様お断り). That’s why being well connected is so important there. Many outstanding artists are like the blood of Kyoto, flowing underneath those buildings which seem to be antique and tranquil, seamlessly and endlessly.

Like the bar KAZU which I used to go to. It is hidden between two skyscrapers built behind the parking lot. If no one brings you there, you’d probably think entry is restricted. Over there, you can meet a lot of people who come to get themselves drunk for some odd reason.

Or the spatial art venue Soto which is hidden in the residential area away from downtown. I held my last gig there before I left Kyoto. The event was organized by the famous DJ Kotsu, who moved from Tokyo to Kyoto last year, and who I respect very much. I was moved by many of his ideas of being an entertainer, he means a lot to me for being able to come this far. Artists like sound designer/ dancer, Lyo Taniguchi and sound maker/ DJ, E.O.U also performed in the gig. Lyo Taniguchi and I produced his EP Nichts together last year. I took charge of the lyrics, composition, vocal and naming of the 4-track EP. This experience in production helped me find my own musical style to a large extent.


Q5. Could you name artists or works that influence your current musical style?

The biggest influence still comes from classical music, especially Chopin and Debussy. Recently, film soundtracks have also been quite an influence on me. Jóhann Jóhannsson, Apparat and Jun Miyake are my favorites. That said, this EP is particularly inspired by Pink Floyd.



Q6. Each word in Is anybody out there? – including “?” – is broken down into track titles. Why did you choose to arrange the tracks in this way?

To me, lyrics and melodies correspond to each other in every song; and when they are linked together, they form a complete sentence. For this work, as every track is linked together, they in turn form a larger piece of music.

In English grammar, sentences that begin with “is” (the verb “be”) are questions necessarily. That’s why in the first track Is, tribal and primitive beats and rhythms are used, wolf’s howl is mimicked by the vocals, and the closing section is arranged with reverses. The aim is to bring time and space back to the epoch when all were still unknown but mountains and rivers, and by doing so, the most instinctive emotions of human beings can be evoked.

anybody is an ideological conversation between the “me(-s)” in a narrow sense and in a wider sense. What’s illustrated in the first perspective is the verbalizable emotions of “me” in the narrow sense qua “me” who lives in the world that can be seen or touched. While the second one represents the unverbalizable emotions of “me” in the broad sense qua “me” who lives in the space of consciousness (in another dimension). The “me” or “us” here, can be anyone.

out seeks to present the state that when everyone or ideologies mentioned above break through the walls in any form, starting to experience each other and eventually unite in one. This apex is exactly there. But where exactly is there? What is this state like? It is unknown to all, so it ends with “?”.

? is nothing but a word that verbalizes – somehow like a monologue – my memories of the first day I started making this EP. It feels as if I came back to Earth in the end after a space trip, all sorts of fantasies and disorganized answers have ended with a “?” – the most common, unsurprising moment. And the power generated from this moment is like undercurrents around me, so I’m still willing to wake up at any moment. To put it simply, the structure of the whole EP is just like birth or death or sex lol.



Q7. Compared to the two previous singles, it seems that Is anybody out there? has a stronger emphasis on the obscurity and ambiguity of the human voice. Does this have anything to do with the idea of this EP?

A lot, I would say. But there is simply a lot to talk about when it comes to the whole idea of it, so now I’m just going to share a little thought here. After learning several languages, I really feel like “language” (the symbolic) is not helping us communicate at all, it is rather triggering various misunderstandings and conjectures. It’s because the relation between language and the material is essentially random. I always feel like I’m “betrayed” by language, no kidding (maybe it’s just because I suck at talking). It’s related to a chicken-or-the-egg paradox in linguistics that is generally called the Sapir–Whorf hypothesis. Check it out if you’re interested to know more, it’s really intriguing. But what I want to say is that information transmitted by language is always either much more than we have heard, or much less than we have heard. Truth and falsehood coexist. The way of judging, at the end of the day, requires us to ask ourselves. Temporary hostility and blind following  all go to waste. So, no matter who gives you an option – whatever it might be – you should always try to feel and pursue your own truth. Only when you have understood yourself, you are likely to be able to understand others and treat them well.


Q8. This EP is mixed and mastered by Yosi Horikawa. How did this collab start? Was there any interesting experience in this collab?

I was introduced to Yosi Horikawa by DJ, Alex, who I met in Kyoto. We’ve been interacting only through e-mails, so we haven’t met each other face-to-face even now. Speaking of interesting experiences, to me, it’s probably that when he was doing the mixing for me, I kept looping his bump, just to imagine how he would embellish my work, lol.



 Q9. What roles do acoustic instruments, field recording, and electronic sound play respectively in your music? How are the three related in your work?

Acoustic instruments are the cornerstone of my works, generally I only use piano for composition. Field recording is only a sort of preference, I feel freer being close to nature. While electronic sounds are used to add immensity to the work as a whole.


Q10. Could you share your future plans?

I might try to release an improvisation album that is only recorded with piano and human voice.

This image has an empty alt attribute; its file name is 泳思1-820x1024.jpeg


Yongsi’s debut EP ‘Is anybody out there‘ ? is out now, listen.

Categories
Editorial

【專訪 INTERVIEW】: Flora Yin Wong(黃映彤)

(Scroll down for English Version)

Flora Yin Wong (黃映彤)是來自倫敦的音樂人,DJ,作家,也是前Dazed雜誌音樂編輯。她的音樂及寫作作品發行和出版於廠牌Modern Love,PAN,Circadian Rhythms,以及雜誌zweikommasieben,Somesuch Stories等。我在曼徹斯特的The White Hotel觀看了她的演出,並邀請她為香港聯合電臺做一個電郵採訪。在這個採訪裡,我問了她各種問題,有跟音樂報導相關的,有跟她今年出版的書《Liturgy》相關的,有跟她寫作和音樂裡都出現的(東)亞洲元素及隨之而來的闡釋相關的,當然,也有跟香港—她母親的出生地—相關的。

(Flora在別的採訪裡講到過在這座城市工作的經歷,她還寫作過幾則反映她在香港短暫生活的故事,都值得一讀。)

訪問:梁安琳 Anlin Liang



問:你認為你在音樂報導行業工作—採訪藝術家,寫音樂評論等—那幾年的經歷對你做音樂有任何説明嗎?從採訪者轉變為被採訪者,你最大的感想是什麼?

 我不會說我作為記者的經歷幫助了我的音樂製作,但這更多只是因為音樂一直都是我生命裡很重要的一部分,我有各種參與音樂的途徑,但當時的我也沒有製作「音樂的能力」。我不再熱愛音樂報導了,我感覺這個行業已成為一個藝人傳輸帶系統。角色轉變後我的確有種奇怪的感覺,但我也對採訪問題有著很高的期望,同時我盡可能誠實而開門見山地作出回答。


問:我讀過你以前的採訪,你提到自己曾嘗試製作俱樂部音樂,卻沒有什麼進展。Laila Sakini在一個採訪裡說過跟這個有點類似的—她說她對於自己做的俱樂部音樂很害羞,不會分享給很多人聽。我覺得這個很有意思,有時人們想要做某樣東西,結果卻做出了非常不一樣的別的東西。你能說說看你當時想做的俱樂部音樂和你現在做的音樂間的差別在哪嗎?

 我自己從未完成過任何一首會被看作是「俱樂部/techno音樂」的歌曲,但是我的早期發行中的確有混合入這些元素…我的專輯製作則是一段非常孤獨的體驗,大概也有在音樂中體現出來。Laila是我的好朋友,實際上,我們正在為今年的Atonal音樂節進行準備合作,這是個慣常來講非常techno的音樂節,所以我們走著瞧哈。


問:能說一下你在The White Hotel演出時播放的錄影嗎?你為什麼選擇以它作為演出的視覺部分?

 我在那場演出中使用的錄影視頻(之前在Kings’s Place和Kelly Moran一起演出時也用的是這個),大部分是我用GoPro時使用了錯誤的配置拍攝的隨機時刻。這些視頻大多來自我獨自在巴厘島的旅行,夜晚我在荒無人煙的地方跟計程車司機進行漫長的對話。這些錄影令人不悅的節奏,他講給我聽的那些鬼故事,我們偶爾路過的市場中使用的特別「亞洲」的燈帶,這些都讓我聯想到某種既現代又單調,然而卻古老又無法看見的事物。


問:我想問下跟你寫的書《Liturgy》相關的問題—這本書原本是要跟《Holy Palm》一同發行,但現在單獨出版了(如果我沒弄錯的話)。對我而言,這本書裡的大部分讀起來像是一個目錄,記錄「帶著隱藏預言」的故事,地點,聲音,動物,精神疾病等等…你是如何為這本書的寫作進行研究的?你在書中寫作的各篇之間有什麼關聯呢?

 對的,(書和專輯)是同時寫作的。書像是一本小的百科全書,各種故事和歷史的選集。它們大部分都是我腦海裡持續的想法和感興趣的內容,然後在紙上進一步鞏固和探索。這些詞彙,故事,活物,不真實的造物,人類信仰等等,普遍地緊密連接。

Flora Yin-Wong
Liturgy (PAN X Primary Information)



問:我看到別人用「東方vs西方」,「亞洲(東亞)文化」,甚至是「尋根」這類語言來形容你的音樂,也看過你在別的採訪裡說到過這是別人的闡釋,而你本意並非如此。但在看過你的書《Liturgy》,以及讀過你其他採訪裡談到使用傳統的中式樂器之後,我還是想問,當你面對比如—說得簡單粗暴一點—「東方」哲學或者「東方」聲音這樣的東西時,你是在尋找「歸根」這種感覺嗎—在這些故事,符號,聲音中與自己建立更強的連接;還是說,你是在用面對其他任何事物時帶有的好奇心去對待這些事物的?

 這也許不是出於有意,我對其使用也不是出於我覺得這能夠代表我—更多是因為它們實際上是「異國的」,然而對我而言卻或多或少感覺熟悉,因此顯得有趣。我喜歡這種也許我在身體和心靈上跟某些東西以更為黑暗而隱藏的方式有著能夠追溯到過去幾代人的連接,這樣的感覺,即便我自己無法理解。對特定樂器的使用則是階段性的,我總是希望能夠觸摸和探索新的樂器。


問:你覺得自己對這個世界的看法是聽天由命的嗎?在讀你的文章《Into the Gorge》之前我沒聽說過奧杜瓦理論。你覺得人類是跟理論預測的一樣,要完蛋了嗎,還是說你覺得人們還是可以尋找出路的?

 要回答這點,我不認為人們應該尋找出路。我討厭因為有能力,就要去延長壽命這樣的想法,也討厭對永生的林林總總的癡迷。一個想像中的「末日」戲劇顯然帶有某種解放的理想主義意味。但講到底,這不過是發生在時間線上的又一個事件罷了。


問:香港對你來說似乎是個非常靈性,甚至有些不真實的地方,至少這是在我讀過你發表在Some Such Stories上面的寫作後得出的感覺。不過當然了,靈性的東西是和實在的東西糾纏在一起的…你在「Time」一文中寫到「你從夢中覺醒過來」…是2014年的政治事件震撼了你嗎?現在你怎麼看待自己跟香港的連接?

 我覺得2014年的政治事件是很多人覺醒的契機,即便對我和跟我一樣在那裡過著非常少有而優越的生活的旅居者來說也是如此。我當時很想念我在英國儘管有各種瑕疵,仍(據說)「民主」的家。我當時的心態非常不同,我所感受的更多是從在異國土地上短暫而處處是命理的停留中「醒過來」。我已經好幾年沒有回香港了,但是上次去香港時我感到非常悲傷。越來越「白」的士紳化區域愈發極端和無聊,讓人討厭。在那裡人們仍然對西方有著理想化的看法,同時內地的侵蝕—在語言,文化,和規則上—也十分沉重。


﹙作者梁安琳為一名翻譯員和在修中的人類學學者。﹚


重溫 Flora Yin Wong(黃映彤)先前在 HKCR 的客席混音





Flora Yin Wong is a London-born musician, DJ, writer, and former music editor at Dazed; her music and writing works have been released/published via labels including Modern Love, PAN, Circadian Rhythms, and magazines and outlets such as  zweikommasieben, Somesuch Stories. I caught up with her set at The White Hotel in Manchester in July and invited her to do an interview for Hong Kong Community Radio via email. In this interview I asked her about music journalism, about Liturgy, the book she released this year, about the (East) Asian elements in her music and writings and the interpretations that came with them and of course about Hong Kong, the birthplace of her mother. (Flora talked about some of her experience when she worked in Hong Kong in another interview and wrote stories that reflected her time sojourning in this city, and these are some good reads.)

Interviewed by Anlin Liang



Q: Would you say your years working in music journalism, interviewing artists, reviewing music, etc., has helped you in any way in materializing your music? What would you say is your biggest takeaway when your positionality switches from the interviewer to the interviewed?

 I wouldn’t say the experience of being a journalist contributed to the work, but more just it was the result of me having different ways of engaging with music as it was always such a big part of my life but I wasn’t ‘able’ to produce anything at that stage. I fell out of love with music journalism when it felt like it became a very conveyor belt system for artists. Now it does make me curious on the other side, but also bear high expectations for interview questions and just try to answer as honestly and openly as possible.


Q: I read your interview about not going anywhere when making club music and I read something from an Laila Sakini in her interview (via zweikommasieben) which is a bit related to this—she talked about how she was really shy about the club music she made and she didn’t show them to many people. I find it pretty interesting that sometimes people want to make certain things but will end up making really different things. Is there anything you could say about the difference between making the kind of club music you wanted to make and making what you are making now?

 I never finished any tracks myself that might be considered as ‘club/techno music’, but do feel like it crosses over more in my earlier releases… the album was a deeply insular experience and probably translates as such. Laila is a good friend of mine and we’re actually working on a collaboration together for the traditionally very techno Atonal this year so will see where we get with that too ha.


Q: Care to talk more about the video footages you used during The White Hotel set? Why do you choose such visuals to accompany your set?

 The footage I used for that show (and previously at King’s Place with Kelly Moran), are predominantly GoPro shots where I filmed random moments on the wrong setting. These were mostly from when I went to Bali alone and was having long chats with the taxi driver in the middle of nowhere at night. The jarring pace of the footage, the ghost stories he was telling me, and the typical ‘Asian’ strip lighting of the occasional markets we passed were really evocative to me of something modern and mundane, yet ancient and unseeable. 


Q: I want to also ask you about Liturgy, your book that was originally intended to be released along with Holy Palm, but now published as a stand-alone project (if I didn’t get it wrong!). I have read it and a large part of it reads to me like a catalogue, or a documentation of things, including tales, places, sounds, animals, mental health conditions, that ‘carried latent potential prophecy’. How did you do your research for this book? I wonder what kind of connection do you see in these different pieces you wrote in Liturgy?

 Yeah they were written in tandem, and is more like a short encyclopaedia or compilation of  assorted tales and histories. Most of them are just ongoing ideas or interests in my head, and then solidified or explored further on paper. They’re all very connected in a universal sense, all the terms, stories, living creatures, unreal creatures, human beliefs etc.

Flora Yin-Wong
Liturgy (PAN X Primary Information)



Q: I have seen people using languages like east vs west, or (East) Asian culture, or even ‘going back to the root’ when describing your music, and I know you talked about in other interviews that this is others’ interpretation of something you didn’t really intend to do. But after reading your book Liturgy, and also reading your interviews where you talked about using traditional Chinese instruments, I still want to ask, when you approach such things as ‘eastern’ philosophy or ‘eastern’ sounds—to put it very crudely—do you look for this “going back to the root” kind of feeling, as in you feel more grounded or connected with yourself, in these stories, symbols, and sounds; or do you approach these things with the kind of curiosity just as you approach anything else?

 It’s maybe not intentional and not used as if I feel like it represents me – it’s more that they are in fact ‘foreign’ yet somehow familiar to me and therefore appear interesting. I like feeling like I’m perhaps connected to something physically and spiritually in a darker, insidious way that goes back generations even if I don’t understand it. The specific instruments are just a phase and I’m craving the access to touch and explore new ones all the time.


Q: Would you say you have a fatalistic outlook for the world? I didn’t know anything about the Olduvai theory until I read your essay ‘Into the Gorge’ . Do you think human beings are quite doomed like the theory predicts, or do you think people could work their way out?

 In this respect, I don’t think people should ‘work their way out’ of anything. I detest the idea of prolonging life because of the ability to, and this overarching obsession with immortality. There’s obviously something liberating and idealistic about the drama of a conceivable ‘apocalypse’, but fundamentally it’s just another event on the timeline.


Q: Hong Kong seems to be a very spiritual and also somewhat unreal place for you, at least that’s how I feel when I read your writings on Some Such Stories. But of course, the spiritual is entangled with the real…you said you were ‘awakening from the dream’ in ‘Time’—did the political event in 2014 shake you up? How do you feel about your connection with Hong Kong now?

 The political events of 2014 in Hong Kong were an awakening for many I think, even for me and my ex-pat peers who lived a very different and privileged life there. I was missing my (supposedly) ’democratic’ albeit flawed home in the UK, and I was in a very different mindset which was more about ‘awakening’ from a brief and fortune-filled respite in a foreign land. I haven’t been back to Hong Kong in several years now, and I found the last trip really sad. Whitewashed gentrified areas were much more extreme and boring, and it just seemed really jarring. There’s still a mentality of idealising the West and also at the same time the overbearing feeling of the mainland encroaching – in terms of language, culture and rules.


(Anlin Liang is a translator and a training anthropologist).


Revisit the guest mix she made for us earlier this year.

Categories
Editorial

【首播 PREMIERE】:Otay:onii


HKCR首播 Otay:onii @laneshiotayonii 30 分鍾影片,影片中 Otay:onii 以文字和個人錄像及取樣等的手法,分享一次手術後的思考,配樂為她廣受好評,於廠牌 WV Sorcerer 推出的個人專輯《冥冥 Míng Míng》的部分作品。

Otay:onii (施金豆)出生於浙江海寧,常駐紐約,她同時也是美國噪音朋克/自賞黑金屬Elizabeth Colour Wheel樂隊的主唱。Otay:onii於2016年畢業於伯克利音樂學院,曾榮獲兩屆勞瑞·安德森女性科技獎,Global Music Award的最佳女聲銅獎,與Audiovisual Arts Industrial Incubator最佳聲音金獎等。

HKCR preimering Otay:onii @laneshiotayonii‘s 30 minutes video. The video ,which has an ethereal quality to it, is loosely based on her critically acclaimed LP ‘冥冥 Míng Míng’ on France-China based label @wv_sorcerer_productions. In the video, Otay:onii uses moving pictures and texts to reflect on her pro-longed thoughts after a surgery.

Otay:onii (Lane Shi Otayonii) was born in Haining, China, and has recently been a resident of New York and Shanghai. She is also the vocalist of the punk spit heavy shoegaze band Elizabeth Colour Wheel (US). Otay:onii graduated from Berklee College of music in 2016, honored twice with “Laurie Anderson Women in Technology” awards. She has also received many other honors and accolades including a bronze prize for “Best Female Vocalist” from Global Music Awards and “Best Sound” from the Audiovisual Arts Industrial Incubator Awards.
Categories
Editorial

五個治療你失眠的混音帶 5 HKCR Mixes to Cure Your Insomnia



amosphère – holbrookia – 19/10/2020
amosphère 揀選送上 「holbrookia」mix,電聲及實驗電子等的音樂選曲。

amosphère @amo.sphere presents ‘holbrookia’, sounds of electroacoustic and experiemental electronic.

AK IN KK|Geophony: – 24/09/2020

香港自然田野錄音聲音庫和網站 AK IN KK @akinkk.sound ,帶來1小時包括在薄扶林水塘、鹿巢坳和奇力山等香港自然環境錄下的純自然的環境錄音。

AK IN KK – Nature Field Recording HK (AK IN KK), website-based sound resource library of Hong Kong nature soundscape field recording, is bringing us an1 hour mix of pure nature field recording, taken at various Nature part of Hong Kong such as Pok Fu Lam Reservoir, Luk Chau Au, Mount Kellett and more.


Yanling – 21/10/2020

收聽 Yanling @yanling_______送上催眠入睡的純氛圍音樂選曲。

Yanling @yanling_______ presents a mix of abstract and hypnotic sounds with ambient music only.


Dead Inside Podcasts Presents: Sounds of a Post Apocalyptic Landscape by George Chua – 29/01/2021

Dead Inside @deadlnslde Podcasts 呈現: Sounds of a Post Apocalyptic Landscape by George Chua @khimser.

新加坡的藝術家 George Chua @khimser ,自 90 年代活躍,他並不止發展於單一的音樂類別。除了他的個人作品外,他運用即興聲音創作方式及以非傳統的手法創作劇場及電影聲樂。最新個人作品『Smokescreen』在2020年於Ujikaji Records @ujikaji 發行。


Dead Inside @deadlnslde Podcasts Presents: Sounds of a Post Apocalyptic Landscape by George Chua @khimser .

George Chua is an artist based in Singapore, active since the late nineties. As an instigator and explorer of the other worldly potential of sound, he has no interest in developing a singular style or genre of music. Apart from his solo work and performances, his collaborative interests include live improvisation with sound, unconventional strategies for soundtracks and sound design for film and theatre. A new album “Smokescreen” was released in 2020 by Ujikaji Records.


Encrypted Voicemail – 10/03/2021

@brokenpillar
 在發表新全長作品前,送上新一集的「Encrypted Voicemail」。

@brokenpillar, whose new lp to be released on 12th via Eastern Nurseries, presents the latest entry of his show Encrypted Voicemail.

Categories
Editorial

HKCR 2021 眾籌計劃 Annual Fundraiser

Indiegogo Campaign

組織背景

HKCR (Hong Kong Community Radio 香港聯合電台) www.hkcr.live 成立於 2016 年,是以灣仔為基地的社區平台和獨立網上電台。

我們已經製作近 700 集包括現場的電台節目、表演錄影和原創的現場演出,當中包括海外及本地的藝術家。作為一個社區平台,HKCR 包容新加入場景的以及在場景裹的邊緣創作者,為他們提供一個可以發聲的地方。

HKCR 是全球網上電台社區的一分子,一個根基於本地而通往世界各地聽眾羣的窗口。

為甚麼香港需要 HKCR

香港的土地資源非常貧乏,表演空間等的設施不足,網上電台的空間是本地謹餘可以無差別地支援小型獨立創作者及團體,作表演及其他型式的創作藝術呈演的中樞之一。在主流商業音樂的龐大身影下,這是一個獨立藝術家和愛好者成立和為目標對象最後的空間之一。自疫情起,我們才認識到一直視理所當然的文化人員流動只

是暫時性的,不過,交流不會只因地域的限制而停頓,所以,我們意識到我們需要擴闊我們的地平線的分界,始於這次的組織更加電子化上的擴展,它可以使更多的文化交流,突破彊界與時區限制,擴散於大氣電波間。

你們對我們的支持。它將會令地域間的創意羣體的對話得而延續。

眾籌的目的

經過整整4年的「beta」實驗運作階段,我們正在邁入 1.0 正式版的重大擴展計劃。這個關乎於我們目標正式地成立一個功能完善的網上電台,以應付因為版權管制日益嚴重的網路環境。這個擴展計劃將會使我們的拓展節目的編排去容納除了身處本地以外的不同地區的藝術家也可以運用我們的平台繼續作文化的交流。

這樣模式的網上電台在亞洲地區少之有少,我們處於第一世界的邊陲,我們的文化視野局限於第一世界裹,我們希望以一個文化協作為出發點,聚集幾個相鄰的板塊,以區域連系的模式跟地區的音樂一同成長,以拓展我們能夠看見的音樂的界限,和在主流以外以公平和平等的方法與其他地區的文化互相學習,相互相乘。

由於我們屬於完全獨立的狀態,背後沒有任何的人士或機構的直接資金投入。我們的節目也沒有任何廣告收益。組織的運作完全依靠組員的自費和工餘時間的投入。我們主要的於富德樓的特惠租金也在明年初介滿,我們需要展開計劃,為延續組織的運作及其擴展籌集新一輪的必要資金。

捐款回禮

我們準備了一系列的捐款回禮,其中包括特別限定週邊等。

$90 元捐款,我們會送上 HKCR 2020 合輯專輯電子先行下載 Download Code。

$350  元捐款,我們會送上限量 HKCR 2020 Resident 的長袖記念Tee 以及上述的禮品。


籌款會帶來的效果

你的慷慨捐助不單只幫助我們應付未來一年的開支,它也會支付我們製作新的網站內容。根據你的捐款額,我們的擴展計劃將會分以下階段:

第一階段 1.0(現時已完成)
全新的節目典藏系統,令聽眾更簡單地重播及發掘過往的節目。
全新的網站特選版面系統。
全新的網站節目表
全新的桌上及手機友善版面。
節目主持的獨立頁面
網上聊天室
捐款系統

第二階段 2.0(籌款目標:$37,620)
21-22 年的營運開支
全新制作室新 HKCR 以及更多原創的節目內容 
更完善的網站使用者體驗及小改款

第三階段 3.0(籌款目標:$28,000)
支援即場收聽及隨身聽的手機程式,用戶可儲存心愛節目及得到節目提醒
全新手機友善的頁面
全新的節目探索系統
全新包括新聞,特輯等的音樂編輯文章及影片內容
根據心情混音集 Mood Mix,一按即時提供不同場景適合的音樂Mixtape 混音帶
會員專屬系統

籌集資金的用途
我們希望可以籌集的資金用來支付我們現時的每月開支以及擴充需要的資金:

新工作室及營運開支
現時的租金以及預算未來新工作室的租金($2000 元)
高速網路供應商($398 元) 
線上存放以供重播節目的 Soundcloud 月費 ($117 元)
網站伺服器($419 元)
網域費用($21 HKD) 

每月  $3,135 元 或 每年 $37,620 元

網站及節目擴充
新網站 1.0 開發(已完成)費用($12,000 元 )
新網站 2.0 開發(2021年)費用(約 $28,000 元)

總籌款目標:$37,620 + $12,000 + 28,000 = $77,620 元

此次捐款沒有最低目標,如果我們沒有達到指定的金額,我們會把所得的用來支付我們之前上述的部分日常開支,以及調整我們的計劃,包括去除實體工作室以減省開支,並積極尋找其他資金的可能性。

我們的最低籌款目標是總數的一半,我們希望自已也負責任承擔營運成本的一半。

如果超越籌款目標,我們希望運用有多餘的資金作網頁開發的成本,以及用作提升電台的錄音設備,或撥入儲備或到下年使用。

主要捐助者/年度贊助
我們會積極考慮接受主要捐助者及年度贊助,如你或你的機構有興趣請直接和我們聯絡。

Background

Found in 2016, HKCR (Hong Kong Community Radio)www.hkcr.live is a community platform  and independent radio station base in Wan Chai.

We have produced more almost 700 live radio shows including original produced artist live session and programms from both local and travelling artists. 

As a community platform, HKCR sees inclusivity as the key for an online platform to be welcoming for newcomers and those who are marginalised to create a voice of their own. 

HKCR is a counterpart of the global internet radio community, a getaway to connect the global worldwide audience while keeping the local community informed



Why is this important

With already scarcity of affordable venues, spaces such as online radio is one of the last piece of backbone that supports underground artists to make performance and other forms of creative activities indiscriminately, it is the space that powered by independent artists and for the independent artists, where commercial music is dominant of the cultural front. 

Since the pandemic hits the globe, we realised that the continuity of freedom of movement are only temporary, however, ideas shouldn’t stop because of physical barriers, hence, it’s important that we should expand the horizon broader, from this planned upgrade of our operation, it enables more cultural exchange through air waves without limitation of timezone and borders. 

Your support to our continual operation will help incubate an up and coming generation of artists. It embodies the city notion of multiculturalism, keeping city’s array of creative dialogue on air.

What is this fundraising is about

3 years into the ‘beta’ phrase of our station, we are going into 1.0 with an big upgrade to our website. This means we finally have a fully functional online radio stream capacity outside of existing streaming platforms which are heavily policed by copy right control system. It would vastly expand our programming ability to facility a wider range of artists who are physically outside of HK but would like to submit a mix to us and to be aired on our station.

Such online platform is rare in the Asia front, we wish to be one of the first station to be able to provide a central point for artists in the regional network who can use our platform to build a together relationship within the continent. 

Our station is independently run and currently not backed by any funding bodies such as government and institutions. We don’t have any income from our streamings nor we do any advertisements. Our (subsidised) tenancy in Footak building will run out soon and we seek to establish a funding from our audience in order for the station to expand the programming capacity and help our monthly expenses.

What You Get

We prepare a range of special perks which will award your generous donation to us. These includes digital compilation to tee and more. 

For $90 HKD donation,We plan to launch a unique digital compilation for each backers and aforementioned gifts.

For $350 HKD donation,We have a special HKCR 2020 Memento Tee and aforementioned gifts.



Your Impact

Your contribution not only helps HKCR to continue running in the next year, it will also help with our upgrading the website which, depending on your contribution, will allow more resources for including more features. Our three phases of update roll out is as follows:-

Phrase 1.0  (Right now)
New audio and video stream player in our website so listeners can tune in 24/7
New shows achieve system allows listeners to search our library of mixes in genre tags
New highlight reel function for featured shows
New schedule function for clearer display
New resident page with one page view of past episodes 

Phrase 2.0  (Donation target: $49,620)
Operation cost for the year of 2021 – 2022
New studio space with more original production
General web optimization for better user experience (small improvements)

Phrase 3.0  (Donation target: $28,000)
Mobile App with show favorites and push notification
Custom Mobile Web layout
New Music Discovery Function
Original Editorial, News, Features plus Video Content
Advance search function with suggested mood, name search and genre tag
New Mood Mix system
Membership function

What We Need
We hope to generate enough money to help pay the expense of web development ($12,000 HKD) plus monthly expenses for the coming year.

Studio & Operational Cost:

  1. Shared Studio Rental ($2000 HKD)
  2. Electricity ($180)
  3. Internet ($398 HKD)
  4. Soundcloud for our achieve ($117 HKD)
  5. Server ($419 HKD)
  6. Domain cost ($21 HKD)​

Total – $3,135 HKD/month OR $37,620 HKD/annual

Website Development:
New Website 1.0  Development Cost: $12,000 
New Website 2.0  Development Cost: $28,000 

Total – $40,000 HKD 

Total: $37,620 + $40,000 = $77,620 HKD / 9,951 USD

We have a flexible target so if we do not reach our target, we will use what we received to pay for our daily expense such as rental and other running costs. We will also consider adjusting our running cost, including cutting off having a physical studio.

Our minimum target is the half of the total estimated cost, it reflects our modest outlook of campaign and we looking for our audience to support half of our estimated cost for 2021 and we shall be responsible for the rest by default.

If we go over our estimation, it can allow us to invest them back to web development as well as upgrading our recording gear, or simply put into reserve for future use. 

Major Donor/Year-Round Sponsorship
We will consider accept major donor and year-round sponsorship. Please contact us directly should you/ your organisation is interested.

Categories
Editorial

Weather Prediction with Cloudy Ku



連結收聽由現居墨爾本,HER 他主理人 Cloudy Ku 庫巧兔 主持的每兩星期廣播節目「天氣預報」,定時邀請世界各地的不同藝術家作嘉賓主持。

Revisit Weather Prediction on HKCR with Melbourne based label HER他 founder, Cloudy Ku + guest contributors from around the world.


Video by ccguasca
https://www.instagram.com/ccguasca/

Music by sugar ross
https://www.instagram.com/sugarross/

Categories
Editorial

HKCR NYE 異靈異靈 End of 2020


HKCR 「End of 2020 異靈異靈除夕」NYE edition! 14單位帶來 15 小時直播節目! ⁣

Celebratibng the end of 2020 with HKCR! 14 units and 15 hours of programmes! ⁣

@m.e.t.a.flexing ⁣
@myni8ght
@5udden5 ( @ether.tokio er)⁣
@lo4nerve ⁣
@clansiechengdaoyuan ⁣
@yogev_fri ⁣
@violentemres ⁣
@mycruelty13 ⁣
@xelanuleg
@online_threat @absurdtrax
@exteeng ⁣
@lil_rhiz0me @knechtjong

Categories
Editorial

HKCR 2020 Residents on Bandcamp

今天是 2020 年最後一個 Bandcamp Friday ,當中Bandcamp 將去除其中的手續費,給予銷售全數款額給創作人。我們把我們2020 年的常駐主持 Bandcamp 上發表的作品整合了一張清單,方便大家瀏覽,並請大家踴躍支持!

https://bit.ly/37GYZ98

It’s the last Bandcamp Friday of 2020 where artists receive full sale revenue as Bandcamp is waiving the processing fee. We put together a list of releases by our residents of 2020 so you may support on there! Check it out!




ARTISTS:
cehryl
Pora
Tomii Chan
Absurd TRAX
Nerve
Sabiwa
Viviankrist
Kagami smile.
◇01668/ s280F
◇T5UMUT5UMU
KOREA TOWN ACID
Dream Catalogue
Amosphère
◇Sugar Ross
N1L
Clansie Cheng Daoyuan
IA
FRKTL
Rosa Anschütz
◇Giugno
XAN
◇ccontrary
◇SISTER
◇Fahmi Mursyid
◇Sakura Tsuruta
Hiro Kone
◇Dong Zhou
Yanling
◇lil rhiz0me
◇玉名ラーメン (tamanaramen)
◇Vincent Yuen Ruiz
◇MIRA
◇violentemres
◇Dahjyn
◇dotzio

Categories
Editorial

11月新常駐主持 November New Residents


1️⃣ FRKTL @frktl

2️⃣ MIRA 新伝統 @__m_i_r_a___

3️⃣ Adults Play Radio @_adultsplay_

4️⃣ N1L @n1l.av

5️⃣ Dream Catalogue @dream_catalogue

6️⃣ Korea Town Acid @koreatownacid

7️⃣ Viviankrist @viviankrist1

節目詳情及資訊,請到網站 hkcr.live 的定時更新了解更多。
Full schedule and show info, visit timely on hkcr.live for updates!

Categories
Editorial

10月節目全新主持及客席嘉賓節目公開! October New Residents + Guest Shows Announced!

(Scroll down for English)

「10月節目表和公開招募完結」

HKCR 很高興宣布,在我們10月的節目中,新增了 35 個有來自不同國家、洲份和城市的新舊朋友加入我們的常駐和客席主持陣容!

另外,本季的公開招募終於完結,我們很高興總共49 個招募的申請,而經過我們亦對每一個申請也逐一回覆後,所有回覆也得到相應的節目安排。總體來說,我們自7月起新增的106個新節目中,公開招募佔了46%,而19位申請者也在 HKCR 開展成為我們的常駐主持。

而經過3個月後,我們的常駐主持陣容已經去到60個,除了26%是來自本地外,我們現在有29個不同城市的主持,來自5個不同的洲份,當中63%是來自亞洲的主持。在疾情持續的2020 年,我們希望借此,在一個比較草根的層面上,去彌補因其而停頓的文化交流。

除此之外,我們在這個月開始將會展開與其它社區電台的節目交換合作計劃包括猶的加敦 Radio Ensanyo (為期3個月)和紐約的 Montez Press Radio (暫定1次)互相分享各地的節目內容,連同上月開始正式合作的 TCR 和 SHCR ,我們現正與4個不同地區的社區電台合作中,致力加深四地間對大家的場景的認識, 穿越於地域,在大氣電波間產生即時的互動和溝通。

「即時捐獻系統」

我們9月13日網站1.5 版本新設的即時捐獻系統( Live Donation System ) ,反應非常熱烈,在此感謝各方好友的慷慨捐贈。

即使系統只是最初版,我們總共籌得154 美元的捐助,當中約91 美元會回饋我們的主持,而剩下的約64 美元(佔總成本的14%)會幫助我們包括日常和網站開發等的開支。

‘Open Call has come to an end’

HKCR is thrilled to reveal our October programme roster, 35 nos of new resident and guest hosts from different countries, continents and cities are joining us for the month of October and onwards.

In additions, we’re super grateful that the Open Call has come to a very fruitful end with 49 participants wrote to us, we responded to everyone and those who replied to us have all received a slot to host a show on HKCR. The Open Call now accounts for 46% of the total number of 106 new shows on HKCR since our relaunch in July, of which 19 participants have now taken their own residency on HKCR

In additions, at the time of writing, we now have 60 residents (and more are still being enrolled)! Aside from 26% local hosts, regular shows are currently being hosted from 29 different other cities over 5 continents (6 if guests show are included), of which 63% are based in Asia. 

We have also established exchange programme with 3 different online radio station (SHCR, TCR & Radio Ensayo) as an ongoing endeavour to strengthen the network between the community radio stations. 

I hope this really help cultivate an organic growth of relationshipbetween the cities in the grassroot level, especially during when pandemic that were large portion of the cultural exchange, which has been heavily based on travel, is still on halt and unforeseeable to be resumed over the last quarter of the year.

‘Live Donation System’

I want to report back to you on our newly implemented Live Donation System (Update 1.5), which went live on 13th September earlier! 

I’m very pleased to report that, despite a very preliminary implementation, we have received 154.71 USD of donation, of which $91.69 (minus paypal fee) USD goes to the designated host(highest sum of donation for a single show being at $25.5) AND the donation pot for all resident hosts.

This is also very encouraging because it means that the rest of the donation $63.96 USD, accounting for 14% of the total cost (at around 4-500 USD a month), will goes to cover the running cost of HKCR plus our web development cost. 

以下是新常駐主持和客席嘉賓的名單。

常駐主持 New Residents :
011668
無害 Mouhoi
ccontrary
cehryl
Kagami Smile
Misty Penguin
Nerve
ODF
Ruhail Qaisar*
Sakura Tsuruta
Hyper Culture*
Tengu Yawn
Tomii Chan
Vincent Yuen Ruiz

客席嘉賓 New Guests:
1528DD*
Achun
Ans M
ARS Was Taken
Munggo*
Dylan Price*
epicene*
Hugo Lau*
WEȽ∝KER *
KISEWA
Kristoffer Raasted*
names*
IA w/ Rafael
Sanjonas*
Shelhiel
Siri Sirasith*
EXILES w/ SOUPIRE*
SUGAI KEN
Thom Mahon*
Wanton Witch

社區電台交換計劃 Community Radio Exchagne Residency Programme:
Montez Press Radio
Radio Ensanyo

*= HKCR 公開招募 2020 的參與者
*= HKCR Open Call 2020‘s Newcomer