CD + 海报 | CD + poster; 2007

淘宝
listen & order

这是一张全然环境音乐的作品,大多收录收于常态中的台北夏日。在不同刻度里,常态是什么?与同样距离拍摄出来的环型系列图片又有什么不同?我们分享了些什么?身为台北居民的我,这两组图片分别加深了我的问题,录音本身并无特别绚丽的成象,只是常态。尤于录音地点与图片拍摄地点也没有特别的关系,这样的距离,当我的思绪埋在云堆而行脚走在这土地上时,我试着去了解,我所问的问题。
–PEI
This is an album of soundscape, mostly recorded in the summer time of Taipei. What do we see ‘normality’ from a different scale? And how does it differ to a series of panorama from a same distance? What do we shared? There are two groups of pictures enhanced my questions as a habitant of Taipei and there has nothing fancy or chic within recording images. By isolating the actual recording locations to the represent pictures, I try to understand what had I been asking while head in cloud and feet on ground.
–PEI

长度 | length:57’26
设计 | design:巧克力橙子、西西 | Choc-Orange and Xi Xi

曲目 track list
01. 锄地 | Changing Root

02. 常态构图 | Normality Envision

03. 静响 | TW Ambience::
04. 夏晚霞 ept1 | Summer Sunset ept1
05. 夏眠 ept2 | Summer Nite ept2
06. 夏眠 ept3 | Summer Nite ept3
07. 夏趣 | Taifun Low
08. 阳明山草虫鸣 | Yang Ming Shan/Hidden Grass Bugs
09. 台风 | Typhoon

PEI:vul3jp6.blogspot.com/

评论
台北的声音艺术家PEI的这张唱片,是利用MD录音机收集的片段剪辑,大部分录制于夏日的台北。曲目都是一些粗糙的,未经处理过的原始录音,她以迥然不同的方式对这些声音进行粗糙的编辑。这些收录进去的声音包括蟋蟀的鸣叫,雷电,暴雨的声响以及其他听觉的瞬间 。
所选的这些录音看起来很平常,但是用耳机去仔细聆听,就可以分辨出低保真背后的声音的层次感。在许多曲目中,我们能听到由人们说话声,狗的汪汪声、水流动的声音以及艺术家的呼吸声所构成的噪音。例如把儿童在一个水池里玩耍的声音与调制汽车收音机的声音,这些快速的,断断续续声音剪接起来,在音量和距离的远近上迅速转换,换一个角度来看,甚至有电影的视觉化效果,而它的简单又令人赞叹。
这些并置在一起的声音格外令人喜爱,而用来表现这一切的不是稚嫩的作曲方式。而是一种高度个人化的对声音的选择方式。事实上,听“常态构图 ”像是体验朋友的快照式的夏日之旅……。
–Nathan Budzinski(Wire,2008年第6期)

review
Resembling a scrapbook of snippets from a newly acquired Minidisc recorder, this album from Taiwanese sound artist Pei collects together recordings made mostly during a summer in Taipei. The tracks are rough and unprocessed recordings of a disparate array of sonic moments, edited in a harsh and uneven manner with most of the disc dedicted to crickets chirping, thunderstorms, rain and other aural ephemera.

At first, its selection of recordings seems banal, but on closer listen through headphones one can discern layers of sounds behind the lo-fi hiss. On several tracks, one can just make out the ghostly noises of people speaking, dogs barking, running water and the artist’s breath. There are several effective compositional moments, for instance splicing together the quick staccato sounds of children playing in a water park to the modulating sound of a car radio. Sharp transition in volume and proximity sometimes creates a shifting point of view, an effect that can be cinematic, and is admirable in its simplicity.

While the idiosyncrasy of the sounds and thier juxtaposition is endearing, it is a stretch to describe them as fully fledged compositions. Rather, the album is a collection of sounds selected and arranged in a highly personal way. Indeed, listening to “Normality Envision” can end up as the aural equivalent of experiencing a friend’s summer holiday snaps.
–Nathan Budzinski (Wire, June, 2008)