sub jam 015 aitar – aitar ii

2 cdr; gatefold; joint release with isolation music; 2004



B6’s early activities is an important part of Shanghai experimental music. he and MHP’s duo Aitar creat dard but clear suond. they spend their intelligence on design a whole work/world of pure electronic sound and its metaphor.

长度 | length:74’32
设计 | design:B6

曲目 | track list:

disc 1: aitar ii
101, sxz come (mhp)
102, factionalism (b6)
103, my infirm rain (b6)
104, miraclulous (mhp)
105, my dreary d (b6)
106, my dusty river (b6)
107, cv les (mhp)

disc 2: tokyo death
201, tokyo death 11 (b6)
202, tokyo death 07 (b6)
203, tokyo death 29 (mhp)
204, tokyo death 08 (mhp)
205, tokyo death 09 (b6)
206, tokyo death 10 (b6)
207, tokyo death 21 (mhp)
208, tokyo death 06 (mhp)
209, tokyo death 19 (b6)
210, tokyo death 94 (b6)
211, tokyo death 05 (b6 & cy)
212, tokyo death 79 (mhp)
213, tokyo death 44 (mhp)
214, tokyo death 01 (b6)

Aitar 是B6和MHP化名的神秘组合。而他们的合作更像是两人的各自为政。两个乐手的曲目交替出现。受到工业音乐影响的MHP产品趋向高密度的块状的声音( 在曲目“SXZ COME”中,甚至使用了古老的纽伦堡会议的采样,而对于中国的年轻听众来说,只能对这种采样的隐含意义进行猜测)。相比之下,B6的作品较为复杂,特别是“Tokyo Death”那些组曲,是尖锐的,复杂的,并且容易让人感到困惑。
—— Keith Moline(The Wire 杂志,257期)

Aitar present themselves as a duo consisting of the mysteriously monikered B6 and MHP, although in effect their release is a double-header rather than a collaboration, with each artist more or less alternating tracks with the other. the Industrial-flavoured MHP offerings tend towards dense, Isolationist blocks of sound (“SXZ Come” even opens with hoary old Nuremberg rally samples, whose significance for a young Chinese audience can only be guessed at). The more sophisticated work of B6, meanwhile, particularly on the “Tokyo Death” suite, is sharp, intricate and slyly disorientating. Both of these Sub Jam release serve notice of interesting creative developments in mainland China and are worthy of investigation.
— Keith Moline (the Wire, issue 257)