背信弃义的双鱼座人 – 二皮音乐节现场
Pisces Iscariots – Live At 2PI fFestival 2004

艺人：背信弃义的双鱼座人
标题：2pi音乐节现场
编号：kwanyin 015
发行时间：2006年9月
长度：43分45秒
设计：冯昊

曲目：
1，二皮音乐节现场

介绍：
1  背信弃义的双鱼座人由姚大钧、李剑鸿、颜峻组成。3个双鱼座人。这是他们第一次合作发声，在2004年11月的杭州，31号酒吧，第2届2Pi音乐节。由双鱼座人李如一现场录音。
4个重要独立厂牌的经营者（Post-Concrete、2pi、Sub Jam、观音），3种不同方向的音乐（电子原音、硬件噪音、EAI即兴），2个活跃的乐评人/策划人（姚大钧、颜峻）加1个资深地下战士（李剑鸿），他们都是中国传统哲学、宗教、美学的追随者。

2  姚大钧：笔记本；李剑鸿：磁带机、笔记本、效果器；颜峻：磬、音叉、I-Pod、MD、CD、人声；didgeridoo和部分诗歌（作者露彻贝尔特、汉娄）朗诵采样：柯雷

备注：
2pi音乐节是由李剑鸿和2pi唱片主办的噪音/声音艺术音乐节，一年一度，在杭州举办。

链接：
姚大钧
http://www.post-concrete.com/blog/

颜峻
http://www.yanjun.org
http://www.myspace.com/yanjunyanjun

李剑鸿
http://www.myspace.com/lijianhong

artist: Pisces Iscariots
title: Live at 2pi festival 2004
cata: kwanyin 015
release date: september 2006
length:43’45”
design:Fenghao

track list：
1, Live At 2PI fFestival 2004

about this album:
Pisces Iscariots is Dajuin Yao, Li Jianhong and Yan Jun, 3 pisces.
they are 3 representative figures of china’s contemporary music, as
important critic and promoter (both Dajuin Yao and Yan Jun), as creative
label founder (both the 3), and of course as musician/sound artist in
different direction (electroacoustic/musique concrete, hardware noise,
electro-acoustic improvisation). their collaboration was rare, dreamy and fantastic.

note：
2pi festival is an annual noise/sound art festival curated and produced by Li Jianhong and 2Pi Records in Hangzhou since 2004.

link：
Yaodajun
http://www.post-concrete.com/blog/

Yanjun
http://www.yanjun.org
http://www.myspace.com/yanjunyanjun

Lijianhong
http://www.myspace.com/lijianhong

review:
Quoting from the CD sleeve, “2pi festival is an annual noise/sound art festival curated and produced by Li Jianhong and 2pi Records in Hangzhou since 2004″. Consisting in a single track of almost 44 minutes, this disc features the talents of Dajuin Yao (laptop), Li Jianhong (tape recorder, laptop, effector), Yan Jun (singing bowls, sound forks, iPod, MD, CD, voice). Starting with environmental sounds, the piece is soon launched into a boiling quagmire of acousmatic inquietude where water, deformed utterances, wind and electronic treatments (not that I’m so sure about the sources…) weight the same in a pretty unusual setting that raises the oppression level to an instant peak. In a highly variegated background, we perceive voices and frequencies seemingly crossing shortwave radio, subsonic tests and marine rage, the music reaching repeated climaxes in the space of a few minutes; a sample of didjeridoo – courtesy of Maghiel Van Crevel – is opposed to overacute emissions that do their best to sting our membranes, until we feel like undergoing a brain defragmentation through sheer structural abstraction. One of the most intense sections, about 17 minutes into the piece, pairs looped Tuvan throat singing with dramatic gasps, giving the impression of the last efforts and thoughts crossing the mind of a drowning person, then out of the blue a telephone rings and a munchkin voice enters the scene amidst additional noise and buzz. A French poem is recited by male and female voices amidst harsh drones recalling a high tension station, a deep hum remaining on site for several minutes; then it all cuts to a miniaturized reproduction of metaphysically mangled traditional Chinese music. A heavily snoozing man is surrounded by thuds and bumps of any possible kind, then we’re introduced to a chorale of cicadas while the mess goes on and on. Sounds of trains. Hypnotic gazing at nowhere. Post-traumatic stillness. Vehicles. Droplets. Ever-present whirr. Only tentative descriptions of the innumerable scenes that characterize this effective, fresh-sounding, certainly intelligent release that I strongly advise to look for despite its rarity.
–Massimo Ricci (www.touchingextremes.org)