Categories
Editorial

【直播通知】HKCR PRES. Hounds of Pamir w/ Enclave (live)

12月11號週六晚上香港時間7點/ 印度時間下午4點 / 澳洲時間晚上10點起於 HKCR.LIVE 收聽。

Stream live on HKCR.LIVE at 7P.M. HKT / 430P.M. IST / 10P.M. AEDT on 9/12/21


Enclave 為即將發行的EP 專輯 World in progress 密鑼緊鼓,他們自上年6月開始就開始磨拳擦掌,包括於封城前後的表演活動,其中包括在Yours & Owls音樂節的現場演出。

現在當澳洲正慢慢地慢慢地回復正常, 他們也在10月起發起了EP的第一首名為 Pale Guilt 的單曲作品, 一首寫下了他們對白人內疚感及收此所發出的表演性的行動主義所產生的不滿以及同情 。 『那裡仍有認清的價值,直視它在你根源中的真相 (There’s value left to learn, meet the truth it’s in your roots)』。主唱 Pat McCarthy 繼續說:『 表演性的行動主義利用了少數群體的傷痛和創傷,他們一直在做的事情是一種來自一種特權,而且往往是在不知不覺中。有時,我們的行動主義只是為了讓別人看到。 我認為這欠缺誠實的自我反省。 當沒有人看的時候,我們淪落為什麼?(Performative activism capitalizes on the pain and trauma of minority groups, it’s privileged doing what they have always done, and quite often unknowingly. Sometimes the extent of our activism can exist solely for the world to see. I believe honest self-reflection is lacking. Who are we when nobody is looking)』

Enclave 是由幾位志同道合,來自幾個包括City Rose, COLD/HEAT, Black Drum, 和 Lorelei 的不同樂隊成員組成而誕生。 他們的狂熱的創作背後的概念都總帶著共同社區和個人發展為目標。Enclave 努力讓他們的音樂反映他們希望自身能於自己以外的世界作貢獻的強烈衝動。

World in progress 將會在明年開初發行。這張EP專輯會觸碰到例如個人發展、尋找幫助他人的意義,對更好的世界存有希望、以及對於未能與撒手人寰的愛人溝通帶來的無奈痛楚等的主題。

這個直播演出將會是Hounds of Pamir 的節目年終節目,這個節目是由精通多個藝術範疇,來自印度拉達克的 Ruhail Qaisar 的主持。

這個通常長60分鐘的常駐節目製作由當初取材於當地零下氣候、iPhone 上的 Moog 合成器、當地的現場錄音而組成的現場演出,在整個疫情的局限性中,進一步延伸到一個大型協作,以電台方式請來自世界各地的嘉賓展示的不同場景, 集體和藝術家,無論任何流派。



Enclave return in preparation for their upcoming EP titled ‘World in progress’.The group has been sharpening their swords since their first release in June of last year, playing shows in-between Country and State lockdowns, including a performance at Yours & Owls festival earlier this year.

Now, just as Australia slowly opens itself up again, in October Enclave followed suit with the first release from their EP. Titled ‘Pale Guilt’, a song written out of frustration toward the absurdity that is performative activism while simultaneously having a closer, more forgiving look at white guilt and shame. “There’s value left to learn, meet the truth it’s in your roots.”

Vocalist Pat McCarthy adds “Performative activism capitalizes on the pain and trauma of minority groups, it’s privileged doing what they have always done, and quite often unknowingly. Sometimes the extent of our activism can exist solely for the world to see. I believe honest self-reflection is lacking. Who are we when nobody is looking? ”

Enclave was birthed as a result of the camaraderie shared between members of City Rose, COLD/HEAT, Black Drum, and Lorelei. Creating fierce music with a sense of shared community and self-development in mind, Enclave strives for their music to reflect the strong compulsion they share to be of use to the world outside of themselves.

‘World in progress’ will be released at the beginning of the new year. The EP approaches themes such as self-development, finding purpose in the aid of others, remaining hopeful for a better world, and the pain and frustration felt from no longer being able to communicate with loved ones taken too soon.

This live performance also marks the year-end episode of Hounds of Pamir, an ongoing radio residency at Hong Kong Community Radio hosted by multidisciplinary artist Ruhail Qaisar from Ladakh, India.

Categories
Editorial

【專訪 INTERVIEW】Hiro Kone

(Scroll down for English Version)



語言是Nicky Mao (毛恩馨) 談論音樂時常出現的主題。她在紐約學習創意寫作,但最終以Hiro Kone的名義憑藉音樂建立起自己的語言。從幼小時期開始,她就和音樂建立起深厚的連繫,不只因為她小時學過音樂—她的很多回憶都依附於某些家庭事件發生時,所播放的音樂;作為獨生小孩,她的孤單體驗也加深了她和音樂的聯繫。然而,直至在多年以後,她才發現,在自己感興趣的事情之中—包括寫作—音樂才是最自然的,最吸引她的東西。音樂才是她註定用於溝通的語言。

Nicky知道實打實的詞語留下的影響是深刻而永恆的。『儘管我上學學的是寫作,我能看到詞語的力量有多麼強大。我非常敬仰作家,但於我而言,我更能自在地在音樂中表達自我…我感興趣的是詞句外的語言,是詞句間的空隙,是沉默,我對我們沒說出口和說出口的東西同樣感興趣,還有我們為何重複訴說某些東西。』Nicky感興趣的事物存在於聲音之中,而她可以通過自己的方式做出這些東西來。

雕塑則是另一個持續的參照點—音樂不只是在聲的層面上吸引她,音樂同樣是有形的,有著視覺的層面。形狀,質感,顏色,物件…這些東西存在於音樂裡;音樂是啞光的,或是閃亮的,又或是疏鬆的。

在成長過程中她彈奏的都是絃樂器—孩童時期彈奏小提琴,青少年時期在朋克樂隊裡彈奏吉他。而現在的她主要使用的是模組合成器。這樣的工作過程非常耗時。『我並不常知道音樂會如何成型,得花上一段時間我才能看到整個生態系統會是怎樣的。』她會在模組上構思出一段較長的(聲音)材料,然後對其進行雕刻,加入新的東西,減去某些東西—最主要的還是做減法—給予這塊材料清晰的輪廓。『這樣做對我來說是相當耗時的,思考要往哪個方向處理材料也是挺花時間的。』

在疫情下,空間成了Nicky思考的非常重要的問題。她思考音樂所存在的空間:封城期間,空間的缺失使她沒法說服自己做線上直播表演—『(在現場演出時)空間裡的聲音,聲音的震盪和混響,這些東西全都非常重要。』但也不止是物理空間。Nicky留意到這股把全套生活搬到線上的勢頭,她卻選擇後退一步進行觀察,而非欣然地加入這場派對。她對資本主義,科技法西斯主義,對不斷取得「進步」的科技與及許多人糟糕的物質條件所形成的極端反差…關於這些事情的思考(而其中的很多她在疫情前已有進行探索),最終匯合成了『拒絕填充空間的衝動』這一直覺指引。在這條指引下,她寫出了第四張全長專輯,Silvercoat the throng。我跟Nicky聊了無常、寂靜、陰影和空間—這些事情大多指向我們所缺乏,而且在主動逃避的一種空虛。

訪問:梁安琳 Anlin Liang



對我來說,當我聽你的音樂時,我看到的更多是電影般的場面。好像有別的人寫過你的音樂可以做佐杜洛夫斯基版本的《沙丘》配樂。

是的,很多人會聯想到科幻電影,完全可以。我想到的更多是…我特別喜歡的導演之一,賈樟柯。我聯想到的是他做的慢電影。我愛他的作品。他使用音樂的方式也很有意思。

你最喜歡他的哪部電影?

我愛《江湖兒女》,這是最近出的一部。我這陣子還看了《三峽好人》,也很好。我現在正在讀一篇他的長篇採訪,出自我朋友出的一本書裡,挺有意思的。我很欽佩他。我還喜歡畢贛,還有蔡明亮。你大概能懂我會被怎樣的視覺吸引。







你如何與他們的電影產生連結?

如果你在不同的地方之間生活,比方說,像我,一個移民後代,來到這裡,你總是會有一種渴望歸宿的感覺,以及無常的感覺。我在亞洲和美國之間來回,還感覺到自己介乎於兩個世界之間。賈樟柯電影有一套很好辨識的生態系統,人們的流離失所或遷移是其中的焦點。在中國各個地區的人因不同原因遷移到不同的地方,產生的動盪以及由此發生的種種事情。這當然跟我個人的經歷非常不同,但其中的某些氣氛和情感讓我感覺熟悉,也幫助我更好地理解周圍的世界。電影裡反映的這些東西—對無常感的表達,以及變遷的不同形式,深深吸引著我:有的人是被迫離家,被消滅,這是非常負面及悲傷的。但是當人們找到方法與彼此建立聯繫時,又是非常動人,也給人提供了慰藉。

你感覺自己像是一個流浪者嗎?

我的作品和我這個人身上都有這樣的遊蕩的特質,就像是一個混合體—這裡不是我的歸宿,那裡也不是我的家。然而當我在移動的時候,我常常會想,『這感覺就像回到家了。』

你跟香港的關係是怎樣的?

很奇怪,我有時會非常思念這座城市,儘管一直以來我都只算是個外人,因為我從來不是那裡的永久居民。但我對這座城市有著很深的認識,因為我在那裡獨自度過了很多的時光,四周圍探索。在香港我的感官似乎變敏銳得多。即便我已離開這個地方許久,我還是能很容易地回想起那裡潮濕的空氣,顏色,氣味,種種東西。我還記得自己在青少年時期發現了王家衛的電影,並為這座城市如此被展現在銀幕上激動不已。我不知該怎麼跟在加州的朋友分享我熟知和熱愛的另一座城市,因此當他的電影突然大受西方觀眾歡迎時,我感到十分開心。

我一直以來都想在香港待長點。我非常想念香港,比對加州的想念還更深。也許是因為我在此地來來去去,它的缺席使它在我心目中的地位更加特別了。它是我自身很重要的一個組成部分,然而對我在美國生活身邊那些從未去過香港的人來說,這個地方仍是個謎。在某些尷尬的瞬間,我會強烈意識到自己跟美式文化某些方面的脫節。香港聯合電台的Gavin上一年邀請我成為電台常駐主持,這件事對我來說意義深重。這是一種被認可的感覺,似乎過去在對我說『你也屬於此處。』

你有去過香港嗎?

有的,我一輩子都住在離它很近的地方。

你喜歡這座城市嗎?你感覺到跟它的連結嗎?

每次我去那裡的時候,我都會去表姐住的劏房那裡落腳。她曾是一名餐館員工,所以我知道擁有不多的人在那座城市是怎樣生存的。 

香港的貧富差距應該是在世界之巔,這是一座圍繞著由英國殖民統治所生出來的一個階級系統而運轉的城市。

我想問跟你的新專輯有關的問題。你的新專輯創作於全球疫情期間,圍繞的是『拒絕填充空間的衝動』這一想法。我可以很直接地將其跟很多人—至少是那些不需要做薪水低廉的「必要」工種的人—在大規模封鎖期間都抒發過的沮喪感聯繫起來:我們如今手頭上有這麼多的空閒,我們該做什麼呢?但你能告訴我這個想法源自哪裡嗎? 

我想的是…如果我們不後退一步,觀察我們前進的方向,我們怎麼能夠真正知道接下來該怎麼走?我表達的這個觀念在疫情期間變重要了許多。大家匆匆忙忙地將所有事情都轉移到網上。我的很多作品都是在講資本主義—這個系統裡各個部件的運轉就是要鼓勵人們匆忙地將每件事都挪到網上:zoom視頻通話,我們的日常鍛煉,教育,一切一切。我不是說這全都不好。我完全理解為什麼人們需要保持聯繫,我也理解為什麼人們要推動這樣的改變。我只是想要後退一步,想想這樣做意味著什麼—我們給這些公司提供了什麼,我們把自己的哪些資訊都拱手讓給了這些我們需要警惕的公司。還有,這持續的生產蒙蔽了我們對自身,對周遭世界的哪些認知。 

科技法西斯主義的威脅正籠罩在我們頭上,而我們對此並沒有充足的討論,我們也不談它是如何深深埋藏在我們生活的每個方面的。政府受惠於這些科技公司—只要看看那些減稅政策你就清楚政府是如何和大科技公司勾結的。我們作為消費者越是依賴科技,這些公司對我們生活就有越大的控制權…所以說,我們這麼快就全盤接受,把一切轉移到線上,這我認為是值得憂慮的。這對科技公司來說簡直就是一場完美的風暴,他們可喜歡極了。這是其中之一。還有很多其他的東西我覺得是可以放進「不想填充我們生活裡突然多出來的空間」這個概念裡的,我們也許可以思考不同的生存模式,不同的合作模式。

這和我的其他作品,以及我過去就我的作品談論過的事情都是有聯繫的,比方說我前一張專輯 A Fossil Begins to Bray。很多的這些想法都是連續的。如果我們不去思考我們進步的方向,這樣的進步並不是我想要的。要不然我們就只是一味地維持這個機器的運轉,然而我認為我們有重新想像事物的機會。



『科技法西斯主義的威脅正籠罩在我們頭上,而我們對此並沒有充足的討論,我們也不談它是如何深深埋藏在我們生活的每個方面的。』





我們要重新思考進步意味著什麼—進步就是「好」的嗎? 

是的,人們真的是鍾情於進步。我愛賈樟柯的電影大概也有這樣的原因,回到這個話題上來。我感興趣的是這種自上而下帶來的連鎖影響,以及這類想法—對「進步」的看法—帶來的影響。這對人們的生活有著真切的影響。我還對如何與其抗爭感興趣—我們如何回應,如何對它說「不」。

你有看過紀錄片Summer of Soul嗎?這部影片紀錄的是1969年發生的哈萊姆文化節,同年還有人類歷史上的第一次登月。觀眾裡的一位黑人男性被採訪者問到他對此事件的看法。他說的大概是那些錢本該可以用來解決貧窮問題,住房問題等等。最近媒體不是在說現在沒人關心億萬富翁的太空競賽嗎,但我看到那個採訪我才意識到,這樣的感想其實並不是最近才產生的。 

你懂我的想法,舉的這個例子也很貼切。我感興趣的是真正的改變,而非為了進步而進步。這也是個非常西方的概念,但已經傳播到每個角落了。你知道哲學家韓炳哲(Byung Chul-han)嗎?

我有聽說過他。 

他說過同樣的東西,我之前也說過—每個人時時刻刻都在對著屏幕,就像是光不會滅。如果光不滅,我們就看不到陰影。我覺得我們需要看到陰影,這樣我們才能看到我們需要細細思考的事物的輪廓。如果我們一直住在這種積極的環境中,住在這透明的螢幕裡,我們看不到背後的東西。我常常思考這個,以及我們看事物的角度。我猜我對陰影,對後退一步留出空間如此感興趣,就是為了看得更清楚一些。

你前面有跟我說過你對「沉默」感興趣,對沒有說出口的東西感興趣,我覺得它們跟你剛說的「陰影」是相聯繫的—你能舉個例子,告訴我你經歷中的沉默嗎? 

當我還是個小孩子的時候,我和我的祖父母在一起度過了很多時間,尤其是和祖母。不幸的是,我不會講粵語,我知道一些詞彙,但不多。她不會講英文。我們的交流包含了沉默,還有將我破碎的粵語跟她破碎的英語拼湊起來。我們可以通過破碎的語言,面部,手勢,以及沉默進行交流。切身體會到各種不同的溝通方式及其潛能後,你會想要更進一步觀察。我還能想到的是跟我的家人坐在晚餐餐桌上,有的時候他們與我對話,有的時候他們談論關於我的事情,但用的是另一種語言,有的時候我會跟我的祖父談話,他說一口完美的英語。你會對各種不同的交流方式感到自在—你並不會總是知道人們在說什麼,有的時候你知道,有的時候你又聽到了別的東西,又或者有的時候餐桌上的人們突然都安靜下來,大家卻不會感到不適。這些對我而言都很有意思。我在那裡度過的夏天讓我學會了安靜獨處。我是獨生小孩,沒有兄弟姊妹,跟家裡人一起住時也沒有年紀相仿的朋友。我覺得這些經歷讓我成為了一個好的傾聽者。傾聽太被低估了。

我很高興你提及你想要真正的改變。我時不時在「欣賞藝術的自身與及「質問『藝術有什麼意義?』這兩種想法之間掙扎。 

正是。不論是怎樣小的平臺,我想要用來展開這樣的討論。我前面說過,談論音樂,談論我如何製作音樂,這些都很好,但我對我們現在討論的事情更感興趣。一個更大的圖景。對,我做電子音樂,我做了一個作品,出了黑膠,但在我的作品裡,我考慮的是更全面的東西。我感興趣的是分享想法如何能夠推動我們往更好的方向前進。假如我的音樂能通過某種方式參與到這樣的改變中,即使是很小很小的貢獻,這樣的人生就是有意義的。

你喜愛雕塑家豪爾赫·奧泰薩(Jorge Oteiza),還分享過他說過的一句話:『藝術不會改變任何事情,不會改變世界,不會改變現實。藝術真正改變的是藝術家自身,他在該過程中改進,轉變,完善他的語言。這個被藝術改變了的人,才能通過生活改變現實。』我本想問這句話如何應用到你自己作為藝術家的經歷上,不過我才你已經回答了。 

對的,我感興趣的是這個過程。我感興趣的是我們如何更好的社會一員,我們如何與我們的環境構建更好的親屬關係。我們現在活在一個特別自戀的時空裡,讓我們緊盯著內心,渴求持續卻空洞的認可。 

問自己想要如何跟這個世界相處是很重要的。如果我要做點什麼,不管是音樂還是截然不同的東西,這其中都要有對他人的關懷。



『我們現在活在一個特別自戀的時空裡,讓我們緊盯著內心,渴求持續卻空洞的認可。 

問自己想要如何跟這個世界相處是很重要的。如果我要做點什麼,不管是音樂還是截然不同的東西,這其中都要有對他人的關懷。』





你的想法受哪些書影響呢? 

我最近讀了魯哈·本傑明(Ruha Benjamin)的Race after Technology,感覺非常貼合當下—考慮到我們對科技的依賴越來越深。她寫的是新興科技如何鞏固白人至上主義。我還提到了韓炳哲(Byung Chul-han)。我也喜歡唐娜·哈拉維(Donna Haraway), (她寫的是)我們和周遭世界的關係,而不只是人類之間的關係。但其實我今年讀的大部分是詩歌—又回到需要空間的這個話題上。我在過去讀了很多的批判理論,然而過去的兩年裡我沒法讀太多理論。我要暫停一下,開始讀詩歌。在詩歌裡有給我大腦的空間,給我呼吸的空間。

你最喜愛的詩人有哪些? 

我很喜歡雪萊﹙Percy Shelley)。我拜訪過他隱藏在羅馬的墳墓,那個墓園裡住著很多貓,感覺是一個很合適的地點。我最近還發現了一個名為Garous Abdolmalekian的伊朗詩人,他的詩最近才第一次被翻譯為英文。我真心推薦Lean Against This Late Hour這個詩集。



Lean Against This Late Hour (Penguin Poets): Abdolmalekian, Garous, Novey,  Idra, Nadalizadeh, Ahmad: 9780143134930: Amazon.com: Books
Lean Against This Late Hour – Garous Abdolmalekian





最後,可以談談你對抵制、撤資、制裁運動(BDS Movement)的支持嗎?你已經支持這個運動相當長一段時間了。 

對我來說解放巴勒斯坦該是不容置疑的,在巴勒斯坦發生的事情是一項由幾個西方強國安排的殖民工程。以色列政府全副武裝,而弱勢的巴勒斯坦人民要麼活在佔領之下,要麼在逃亡。他們之間不是勢均力敵的。熟悉二戰後歷史事件的人應該清楚這是對壓迫和消除的延續。在被佔領的巴勒斯坦,人們的家常被奪去或是鏟倒。這樣反復出現的事情再直觀不過—這是在磨滅巴勒斯坦存在的歷史印記。因此我們不能保持沉默。

 2019年我去巴勒斯坦的時候,我先去了約旦。我在安曼的許多朋友是巴勒斯坦人,但是他們不能和我一起進入巴勒斯坦參加在拉馬拉舉行的一個音樂節。那說明了什麼?他們是巴勒斯坦人,我是美國人,為什麼我能進,他們卻不能。就因為我有美國護照。我的朋友沒有「正確」的文件,就不能自由地移動,然而其他有著以色列,英國或美國護照的人卻可以。這個世界的懸殊,以及誰掌握著權力,不言而喻。

 我生活在一個給以色列「國防」軍 (Israel Defense Forces, IDF)資助上百億美元的國家,但實際上他們是「佔領(occupation)」軍,壓迫巴勒斯坦人民,讓他們活在恐懼中。我曾跟希伯倫的一個年輕人談話,他告訴我在他還是個青少年時,IOF曾試圖在他身上栽贓一把刀,若不是他的鄰居及時望出窗外,他就會被他們射殺了。美國對那裡發生的事情有很大的干涉權力。我們與其息息相關,是需要負責任的。因此我支持我的朋友及他們回歸家園的權利。






Hiro Kone 於Dais Records推出的第四張全長專輯 Silvercoat the throng 現已推出,連結收聽





Language is a recurring theme when Nicky Mao talks about music. She studied Creative Writing in New York, but eventually came to build her language through music, under the alias Hiro Kone. She had a strong connection with music since she was very young, but not just because she played it as a kid—a lot of her memories are attached to songs her family were playing when something happened; the solitariness she experienced growing up as an only child also deepened her engagement with music. It took her years, however, before she discovered that out of everything she had been interested in, including writing, that music most appealed to her and made sense for her. Music was the language she was meant to use for communication.

Actual words could be intense and permanent, and Nicky knows that. “Even though I went to school for writing and even though I studied it, I saw how words are so extremely powerful. I have so much admiration for writers but music just felt more like a comfortable place for me to express myself…because I’m interested in language outside of words, I’m interested in like the space between words, I’m interested in silence, I’m interested in the things that we don’t say as much as the things we do say, or why we repeat certain things.” Things Nicky is interested in exist within sounds, and she could achieve them with sounds, in her own way.

Sculpture is another constant reference point—music doesn’t just sonically appeal to her, it’s also physical and visual. Shapes, texture, colour, objects…these things also exist in music for her; music is matte, or shiny, or porous.

Growing up playing string instruments—the violin as a kid and the guitar in a punk band as a teenager,  she now works mostly with modular synths. It’s a time consuming process to work this way. “I don’t always know the shape, it takes time for me to see what that ecosystem is going to be like,” Nicky says. She would start with sketching one long piece on the modular, and then start to chisel this piece of material, add stuff, take away stuff—mostly take away stuff—and start to give it its definition. “That takes time for me to do that, and to sit with it and know what direction I want to go with that.”

During the pandemic, space has also become an increasingly important topic that Nicky dwells on. On the space that music exists in: she couldn’t bring herself to do livestream performance in lockdown due to the absence of space—“The sound within that space (when playing music live) and the vibration and the reverb and all those things are extremely important.” But also beyond that physical space. Alerted to this momentum of moving our life online, Nicky took a step back and observed rather than joining the party unquestioningly. Her reflection on capitalism, techno-facism, the polarity between the rapid “progress” made in technology and the dire material reality of many people, a lot of which she had explored even pre-pandemic, culminated into the intuitive directive “resist the urge to fill the space”, under which she wrote her 4th full-length album, Silvercoat the throng. I talked to Nicky about the transience, silence, shadow and space—most of these things point to a void that we most likely lack and actively seek refuge from.

Interview by Anlin Liang


For me, when I listen to your music, I see something more cinematic. Someone else might have written that your music could be used to soundtrack Jorodowsky’s version of Dune.

Yeah a lot of people think of science fiction, which is totally fine. I think of more…one of the directors I really like, Jia Zhangke. That slow cinema he does, that to me is what I feel like. I love his work. He uses music in interesting ways, too.

What’s your favourite film of his?

I love Ash is Purest White, which is a more recent one. And recently I saw Still Life, which is really good too. I’m reading a quite long interview with him right now in a book my friend published, it’s really interesting. I admire him so much. And I like Bi Gan. And then Tsai Ming-liang. So this probably gives you a sense of some of the visual aspects I am drawn to.







How do you relate to their films?

If you live between worlds in a way, say, you’re a child of immigrant, for instance, like myself, who came here, there’s always this feeling of longing and transience. Because I went back and forth between Asia and the US, there’s this feeling of existing somewhere between both worlds. There’s a recognizable ecosystem to Jia Zhangke’s films, that centers a lot around the displacement or the migration of people. People within different regions of China moving to different places for different reasons, and the destabilization and things that happen as a result of this. It’s of course very different than my personal experience, but there are certain tones and emotions that feel familiar and help me understand the world around me better. There’s something striking and interesting to see these things reflected through those films—the expression of what that transience feels like, and how there’re different forms of it: some of it is just outright displacement and erasure, and it can be really negative and sad. At other times it can feel very touching and comforting as people find ways in which to relate to one another.

Do you feel like a nomad?

There’s a quality to my work and to who I am that feels very nomadic and feels like a hybrid—never quite felt like at home here, never quite felt at home there. However, often I think to myself when I’m in motion, “How at home I feel.”

What’s your relationship with Hong Kong like?

It’s strange but I get really homesick for the city, though in a way I’m always a bit of an outsider because I was never a permanent resident. But I know it in this really deep way because I spent so much time alone there, exploring the city. I feel as though my senses are heightened when I’m there. The humidity, the colors, the smell, all of it is really easy for me to visualize, even when I’ve been away for a long time. I remember when I was a teenager and discovered Wong Kar Wai it felt so exhilarating to see the city projected on the screen like that. I didn’t have any way of sharing with my friends in California this other city I knew and loved, so the sudden proliferation and popularity of his films with western audiences was kind of exciting for me.

I always want more time in Hong Kong. I miss it quite a lot, more so than I do California. Maybe there’s something about the coming and going, the absence of it that makes it more special to me. It’s a huge part of who I am, yet it remains a mystery I think to the people in my life here in the US who have never been. There are awkward moments where I feel really cognizant of how out of step I feel with certain aspects of American culture. It meant a lot to me when Gavin from HKCR reached out to ask me to be a resident last year. It felt a little like being recognized in some way, the past saying, “You belong here, too.”

Have you been to Hong Kong at all?

Yeah, I lived quite near there for my entire life.

Do you like it? Do you feel a connection to it?

Every time I went there I would stay with a cousin who live in a subdivided unit. She was a restaurant worker. So I know what it’s like if you don’t have much living in that city.

The disparity in wealth in Hong Kong has to be one of the worst in the world, it really is a city that caters to a class system which echos it’s British colonialist roots.

I want to ask about your new album. It’s created during the pandemic and it comes from this idea “resist the urge to fill the space”. I could very straightforwardly relate it to a frustration a lot of people—at least people who don’t have to work the low paying “essential” jobs— have expressed during the massive lockdown: now we have all the time, what are we gonna do? But could you tell me where the idea comes from?

I think…If we don’t step back and observe the direction we are taking, how are we going to really know what steps need to be taken. This idea that I’m expressing was really heightened during the pandemic. There was a rush to move everything online. A lot of my works talk about capitalism—there was a rush because of the way that the machineries working to keep it going and there was a lot of promoting of that behaviour to move everything online: zoom calls, our exercise routines, education, everything. I’m not saying that all of this is necessarily bad. I also understand why people need contact with one another, and why people felt the propulsion towards this. But I just want also to take a step back and think about what that means though—what we are giving these companies, what information of ourselves more we are giving freely over to what I believe we have to be really wary of. Also what does this constant productivity keep us from learning about ourselves and the world around us.

I think that we are under threat of techno-fascism, and I think that is something we don’t talk about enough, and we don’t talk about how deeply embedded that is into all of this. We have governments who are now beholden to these technological companies—one can just see the tax breaks to understand how in bed Government is with Big Tech. And the more that we consumers become dependent on the technology, the more influence they have in control over our lives so…it feels like a concern about the fact that we were so quick to just accept this and move it all on to online. It’s like the perfect storm for them. They love it! That was one thing. There are a lot of things I think that fit into that whole idea of not wanting to fill the space that we suddenly had in our lives, to maybe consider other modes of existence, other modes of collaboration and working together.

It’s a correlation with other albums and things that I’ve been talking about in the past with my work, like the previous album A Fossil Begins to Bray. A lot of these ideas are sort of in continuation. Progress without thinking about what we’re progressing towards is not what I’m personally after. Or it’s just like feeding this machine when I feel like we have an opportunity to maybe reimagine things.



”I think that we are under threat of techno-fascism, and I think that is something we don’t talk about enough, and we don’t talk about how deeply embedded that is into all of this.”






We need to rethink what progress means—is progress necessarily “good”?

Yes. People get really enamoured with progress. I guess that’s part of why I love Zhangke’s films too, going back to that. I’m interested in the effects of that trickle down, the effects of this type of thinking—what progress is. It has real life effects on people. I’m interested in that and interested in how to fight that, or how we can respond to that, and say ”no”.

Have you seen Summer of Soul, the documentary? It was about Harlem Cultural Festival that happened in 1969, the same year when the first moon landing in human history happened. A black man in the audience was interviewed and he was asked what he thought of this event. He basically said all that money could have been used to fix poverty and housing problem and such. You know the media is talking about how no one is enthusiastic about all this billionaires space race recently, but when I saw that interview in the film I realized it was not a novel sentiment.

You know what I’m thinking about and really illustrated that. I’m interested in real transformation, and not just progress for the sake of progress. It’s a very Western idea, which has been indoctrinated everywhere. Do you know the philosopher Byung Chul-han?

Yes I heard of him.

He says the same, and I’ve said it before, too. Everyone’s on the screen all the time, it’s like the light doesn’t break. So if the light doesn’t break, we don’t see the shadows. I think we need to be able to see the shadows, in order to see the definition of the things that we need to consider and think about. And so if we’re just living constantly in the positive, this transparent screen constantly, we can’t see what’s behind it. It’s just something I think a lot about, and our perceptions of things. I guess that’s why I’m really interested in the shadow or taking that step back and allowing that space to be there—so that I can see better.

You told me earlier that you are interested in silence, in unsaid things, which I would relate to the shadow that you just talked about—could you give me an example of this silence in your experience?

When I was a kid I spent a lot of time with my grandparents, with my grandmother. Unfortunately, I didn’t speak Cantonese, I know some words but not a lot. And she didn’t speak English. Our way of communicating encompasses the silences as well as the piecing things together from my very broken Cantonese and her very broken English. We were able to communicate with our broken languages, our faces, with our gestures and our silences. You experience that range of communication first-hand, and it shows you potential, and so you want to observe more. And then I can also think of things like sitting at the dinner table with my family, sometimes they’re speaking to me, sometimes they’re speaking about me, but in another language, sometimes I’m talking to my grandfather who speaks perfect English; you just get comfortable with these different ways of communication—not always knowing what people are saying, and then knowing and then hearing something there, or suddenly there’s a silence that comes over the dinner table, and people are just comfortable. That’s all really interesting to me. I learned a lot about being alone and quiet during my summers there. Because I was an only child, I didn’t have siblings, I didn’t have a lot of young friends around when I was living with them. I think this experience made me a good listener. Listening is so undervalued.

I’m glad that you mentioned you wanted real transformation. I struggle sometimes to reconcile the thoughts of loving art for art’s sake and questioning “what is this for?”

Yeah exactly. Whatever small platform I have, I want to use it to have discussions like this. I was saying earlier—it’s nice to talk about music and how we made it, but I’m more interested in what you and I are talking about. A bigger picture. Yeah, I make electronic music, I made a piece, it came out on vinyl, but it’s a more holistic thing that I’m considering in my work. I’m interested in how sharing ideas can move us in a better direction, and if my music in some way can be a part of that movement, in a very small way, then that feels like a life well-lived.

You love sculptor Jorge Oteiza and once shared this quote by him: “Art does not transform anything, it does not alter the world, it does not change reality. What the artist really transforms, as he evolves, transforms and completes his languages, is himself. And it is that man, transformed by art, who can, through life, transform reality.”

I was meant to ask how that applied to your own experience as an artist but I guessed you just answered.

Yeah it’s that process that I’m interested in. How we become better members of society and how we build better kinship with our environment. We’re living in an increasingly narcissistic time, one that focuses us inwards and necessitates constant empty affirmation.

Asking yourself what kind of relationship you want to have with the world is really crucial. If I’m going to do anything in my life, music, or something entirely different, it has to have a quality of care for others.



”We’re living in an increasingly narcissistic time, one that focuses us inwards and necessitates constant empty affirmation.

Asking yourself what kind of relationship you want to have with the world is really crucial. If I’m going to do anything in my life, music, or something entirely different, it has to have a quality of care for others.”





What books have informed you on your views?

I recently read Ruha Benjamin’s Race after Technology, and felt it was very timely—given our increasing reliance on technology. She writes about how emerging technology reinforces white supremacy. I also mentioned Byung Chul-Han. I love some Donna Haraway as well, (she writes about) our relationship with the world around us, not just human relationships. But this year I actually read mostly poetry—going back to this thing of needing space. In the past I’d read a lot of critical theory, and I just couldn’t bring myself to do much of that over the past two years. I took a break and started reading poetry. Because there was space there for my brain, and space to breathe, too.

Who are your favourite poets?

I love Percy Shelley a lot. I visited his grave which is tucked away in Rome, in a small cemetery where dozens of cats live. It felt like a really fitting spot. I recently discovered this Iranian poet Garous Abdolmalekian, he was just translated to English for the first time. I really recommend this collection Lean Against This Late Hour.




Lean Against This Late Hour (Penguin Poets): Abdolmalekian, Garous, Novey,  Idra, Nadalizadeh, Ahmad: 9780143134930: Amazon.com: Books
Lean Against This Late Hour – Garous Abdolmalekian





Finally, can we talk about your support for the BDS Movement? You have been a supporter for quite a long time.

For me it has never been a question whether Palestine should be free and that what was taking place there was a colonial project, orchestrated by a number of western powers. You have a state government (Israel) that is armed to the teeth and then you have a vulnerable population either living under occupation or exile. These are not equal players. Anyone who familiarizes themselves with the history of the events following World War II should see clearly this is a continuation of oppression and erasure. Homes are taken or razed to the ground all the time in occupied Palestine. The practice is plain and simple – to erase any historical evidence that is Palestine. That’s why we cannot remain silent.

When I visited Palestine in 2019, I visited Jordan first. Many of my friends in Amman are Palestinian and could not travel with me into Palestine to the festival I was attending in Ramallah. What does that say? They’re Palestinian, I’m American – how does it work that I’m allowed and they are not. Because I have this US passport. My friends who do not hold the “right” documentation cannot move freely while others with Israeli, British or American passports can. That says a lot about the disparity of the world and who maintains power.

I reside in a country that pours billions of dollars into the Israeli “defense” forces. Really they are “occupation” forces, used to repress the Palestinian people and keep them living in terror. I spoke with a young man in Hebron who told me the story of how the IOF tried to plant a knife on him when he was teenager and if it weren’t for his neighbor looking out the window at the right time, they would have shot him. The US plays such a large role in what is taking place there. We are so entwined and responsible for what is taking place. This is why I support my Palestinian friends and their right to return





Hiro Kone’s 4th LP Silvercoat the throng is out now on Dais Records, listen.

Categories
Editorial

「WHY RADIO?」 — 【專訪 INTERVIEW】 RiceBaby

(Scroll down for English Version)

「WHY RADIO?」是 HKCR 由主持人間訪談系列,旨在探索創作人間於 2021 的年頭,究竟為何堅持做電台節目的源由和意義。

訪問:Gussieft1



本地有甚麼場景或者圈子對你,尤其於音樂和打碟的方面有所啟發?

雖然我住在丹麥,但是由於我並不是本地人,所以很難說我特別受當地的場景所影響。

其實我只是在新冠疫情後才開始策劃和分享我以前還在家鄉印尼住的時候就喜愛的音樂。現在我已經在歐洲住了滿10年,我一直都沒有脫離音樂,不過我也沒有將我的愛好投入於當地的場景裡。

我並不視自已為一位「做」音樂的人,因為我也沒有創造甚麼作品,我只有聆聽和分享東西,我有去做一些混音,但我也不想稱呼自已為一位DJ,你明白我的意思嗎?

是的,我完全明白你的意思。

我純粹喜歡分享音樂而已,這是因為疫情後我開始真有時間去做混音和其他事情。以前的我通常只會為朋友的派對做歌單之類的,那是比較輕鬆沒太大顧慮。但自疫情後我開始很長時間待在家中,所以自自然然就開始了這件事,不過我仍不會說是當地的場景影響了我,因為即使到現在,我關注的大多是東南亞的音樂,而我之前反而是沒太多留意的。

原來如此,我也不會視自己為一位DJ 所以我自己大致也會這樣形容。我也不太受當地的場景的影響。

是的,當然丹麥本身也充滿了優秀的東西,不過當我初到貴境,我還未太了解當地場景疾情就發生了,而且我才剛剛移居到這裡。所以我猜我仍然很大程度上與東亞及東南亞的音樂有更大關聯,甚至在疾情期間更加踴躍多去發掘這些音樂,儘管也不至於我會排除其他音樂,但我於東南亞地區中找到更多我感興趣的音樂,尤其因為我來自印尼,在我開始做「DJ」後我變得更加有動機去探索自己國家的東西。

你知道我們是位於香港,而你則在歐洲,請問你與我們的地區會不會剛好有任何關連嗎?

我自己從未到過香港,但我有很多印尼的朋友到過,甚至他們當中認識當地的場境(應該本身是音樂人吧)。我聽說過許多關於香港的好東西,特別是它非常的繁華。我猜因為我位於歐洲,我從主流媒體吸收的資訊都是其他人對它的觀感,而且幾乎是關於政治的。我自已沒有對這方面沒有很資深的見解,所以我也沒有與其他人討論這些,我覺得在北歐居住,於主流層面上,很多當地人都把香港或中國與政治和社會動盪概括地連結一起。這是我對當地人對香港的理解,不過我作為一位亞洲人,你知道一般來說有很多事情,歐洲人其實以為自己懂卻其實甚麼都不懂。對不起,我似乎忘記了你的問題了(笑)。

(笑)

哈哈對,我只是住這裡,我不能代表歐洲人說他們對香港的想法,即使我知道這裡的傳媒說很多關於香港政治,但很少關注文化或音樂等的東西。

哈,在美國也是這樣。

是的,當其他人問到『你對這的想法是甚麼?』的時候,他們總是想你去選擇幫某一方,因為我從未去過香港也不會當地的語言,我會對這些問題感到尷尬。

據稱你對多個音樂種類都在行,哪你懟覺得這個音樂面向有甚麼好處嗎?而你覺得又有甚麼壞處呢(雖然我自己覺得沒有但也想問一下)。

我自己不喜歡只聽某一音種,我不屬於一名 House 音樂的「Selector」,如果整天只聽 House 太悶了。我覺得好處是你會容許自己發掘更多,而且避免將你自己被封閉於其他的音樂種類之外。

我有時甚至覺得「音樂種類」是挺精英主義的。有人可能會想:『我的天噢,你竟然聽 K-POP ?!』但我覺得如果你有去聆聽不同的音樂種類,譬如即使你喜歡某一首曲,你就會是單純地欣賞它,你不必因為「噢我喜歡它因為它是屬於甚麼音種」的理由而欺騙自己。有時候,我也會想聽一首好聽的流行樂曲或 emo 樂曲之類的,即使今時今日我都不太聽 emo 了。我從不顧慮自己是否認同自己為一名藝術家或DJ ,我分享音樂的原因更多就是我覺得很好玩而且,也籍此希望其他人聽了我的 Mix 也會覺得感興趣,你可能聽了裡面一首曲而覺得『噢這首歌不錯,這是甚麼歌?』,你不會去故意聯想這是屬於甚麼音種,再者我放的mix 甚麼音種都有。

當然,我也有我的音樂種類喜好,但這視乎我的心情和我當時喜歡的音樂。我個人來說,我不會傾向在我的電台節目只想著做同一個音樂種類的mix,我喜歡當是一個故事或一個發展的勢頭順著來。不過這是很個人的,我不會說其他的方法不好,但當你使用了多個音種時這是它的優勢,你可以以氛圍開始然後以 Hyperpop 結尾,對我來說這個手法會比較好玩。


我有時甚至覺得「音樂種類」是挺精英主義的。有人可能會想:『我的天噢,你竟然聽 K-POP ?!』但我覺得如果你有去聆聽不同的音樂種類,譬如即使你喜歡某一首曲,你就會是單純地欣賞它,你不必因為「噢我喜歡它因為它是屬於甚麼音種」的理由而欺騙自己。




對,我明白,我也會使用很多不同的音樂種類。你也是 HKCR 常駐節目的一員?我急不及待想聽你的節目呵!

我想講的是我不喜歡對所有事情太過「認真」,但真的我做這些的原因就是為了好玩,但我清楚能夠休閒地做這個事情是因為我比其他人有優勢,也因為我本身不是一個職業的 DJ/ 音樂人所以也沒有太認真地看待它,我幹這件事是為了發掘更多新或舊的音樂,以及享受分享和策展的樂趣。

重溫 Ricebaby 於HKCR 的節目的最新集數。


‘Why Radio?” is an interview series hosted by our residents, each of them contains conversations of the residents to explore the meaning of making radio shows in the year of 2021.

Interviewed by Gussief


What are some local scenes or circles that inspire you, did it play a role in getting you into music and DJing and stuff?

I live in Denmark but I’m not from here originally so I wouldn’t say I’m very influenced by the local scene here, but I started really getting into it in the beginning of covid. I mean I always liked just curating stuff and sharing music before back when I was still living in Indonesia where I’m from originally. I’ve lived in Europe now for 10 years, and I’ve always had an affinity to music, but I wasn’t really doing it in that sense. I like to share stuff, I don’t see myself as a person who “does” music, because I don’t “do” music you know, I just like to listen to it and share stuff, I started mixing a little bit but I wouldn’t call myself a DJ, you know what I mean?

Yeah I know exactly what you mean

Yeah, I just like sharing music, and I think it was because of the beginning of covid, that I started to just have time to actually start getting into making mixes and all that stuff, you know whereas before I’d be making playlists for a friend’s party or something liek this, so it was more chill, but because of covid being at home a lot, that kind of started it, but I wouldn’t say I’m specifically influenced by a local scene, because also most of the stuff I’m looking into these days, and since I started getting into it, is a lot of south-east and east asian music, which I wasn’t actually digging so much into before. 

That makes a lot of sense, I wouldn’t consider myself like a DJ and I’d probably say the same thing, I’m not really inspired by the local scene round here really either

Yeah, I mean I think there’s a lot of good stuff here as well [Denmark] but when I moved here, I didn’t really know much about the local scene anyways and then covid happened, I moved here not too long before Covid happened, so I guess I was away more, and I always had more affinity to East and South East Asian music and I started digging it after Covid. Most of the stuff I play and look into is focused on south-east and east asian based artists. Not to say I’m excluding other stuff, but I guess I’m finding more stuff that I’m into from SE Asia, and coming from Indonesia, it’s given me more motivation to look into stuff from my own country which I didn’t used to before I got into so-called DJing or whatever.

So as you know we’re based in HK, you’re based in Europe, so do you have any connection to the region?

I’ve never been to HK personally but I’ve got lots of Indonesian friends who have been, and also I’ve got a lot of Inidonesian musician firends who know the scene more (I guess like, really musicians haha). And I’ve only heard good things about what’s happening there, that Hong Kong’s really vibrant and I guess living in Europe, most of the things I see or hear on mainstream media are people’s perception of, you know it always has to do with politics I guess. I’m not an expert on that stuff so I don’t really get into it with people, and it’s Europe, and I live in Northern Europe so it’s even more like, I think living here in general in Northern Europe, a lot of people look at Hong Kong or China as this like, they associate it a lot with politics and riots, all this kind of stuff, like on a mainstream level. THat’s what I know from people’s perceptions, but I don’t really get into it with people, since you know because I’m Asian myself, you know sometimes Europeans have these things that they think they know but they don’t really know, in a more general level I guess. What was the question? What people think of Hong Kong? 

*Laughter*

Haha yeah, I mean, I myself, I mean I live here, but I wouldn’t say I can represent what Europeans think of Hong Kong, but I know there is a lot of stuff in the media, but it’s more about politics and less about culture or music or stuff like this

Ha, yeah definitely in America it’s about politics too.

Yeah and people are always like asking your opinion like “what do you think of this?” or “what do you think..” you know, people are always kinda wanting you to choose a side or something, and it’s quite awkward because I’ve never been to Hong Kong and I don’t speak the language or anything. So if someone here in Denmark tends to focus on those big questions more, rather than other things, but it’s usually politics yeah.

So you’re multi-genre, so what’s your perspective on the pros of being multi-genral and do you think there are any cons at all (I don’t think there are but). 

If there are any cons at all?

No! The pros! More focusing on the pros, if there are any cons, mention them as well, pros and cons yknow!

Personally like I don’t only listen to one genre because I don’t feel like it, and I’m not like a house selector or DJ or anything, because just listening to house all day is boring! I think the pros are you get to discover more, and you don’t shut yourself off from other genres. I sometimes think that genres can be quite elitist. Sometimes someone could think “oh my God, you listen to K-pop?! How could you?” But I think with multi-genre, if you like a track, you just like a track, it doesn’t have to be like “Oh I can’t like this track because it’s this or this genre”, and you can’t lie to yourself, there are some days where you want to listen to a good pop song or an emo song or whatever, I mean, not that I listen to a lot of emo these days I think, but yeah, I just think that for me, since I don’t consider myself a musician or a real DJ or whatever, it’s more that I share music and do this because it’s fun, and also hope that people who listen to the mixes or the radio show that I do, you might hear a song and think “oh this song is nice, what is this song?”. And it’s not about keeping a certain genre, there aren’t genres I won’t do. THere’s definitely types of music I prefer for sure, but it also depends on my mood or what I feel like listening to at that moment. For me personally if I make a mix, I tend to not make a mix that is just a single genre. Personally I prefer to go about it, more like there’s a story or a progression on my radio show.  But I think that’s also personal. I’m not saying other ways are unlikeable as well, but I think that’s just the pros of doing multiple genres, you could start with ambient and end with hyperpop, so I think that’s more fun for me anyway.s


I sometimes think that genres can be quite elitist. Sometimes someone could think “oh my God, you listen to K-pop?! How could you?” But I think with multi-genre, if you like a track, you just like a track, it doesn’t have to be like “Oh I can’t like this track because it’s this or this genre”, and you can’t lie to yourself



Yeah I understand I use a lot of genres as well. So you’re a resident on HKCR? I can’t wait to tune in!

I think my point is that I don’t take all this stuff seriously, quote unquote, but really I do it because it’s just fun, I kinda of do it just for the joy, but I also know that I have the privilege to do it for leisure, but maybe it is because I don’t have a career as a DJ / musician so I don’t atke myself too seriously in that sense, I do it because I like discovering artists or new music or old music, and I just do it for the fun of sharing and curating



Categories
Editorial

【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