kwanyin 002 另外两位同志 + 颜峻 + 顶楼的马戏团 – 上海即兴 other two comrades + yan jun + topfloor circus – improvisation in shanghai

cd; paper sleeve; joint release with 骡子唱片 mule records; 2005



The Other Two Comrades and Yan Jun tour to Shanghai. they invited Topfloor Circus to join.
Refreshing and minimal atmosphere turns into wild and mysterious. everything find each other from minority/root music to underground rock to experimental electronics. during the show there is a leather belt lash on ground. then audience start shout. this is an experimental and improvised recording for sauvage.

长度 length:51’00

母带处理 mastered by:718
设计 designed by:顶楼的马戏团 Topfloor Circus

曲目 track list:



Huan Qing: kalimba, kou xian (jew’s harp), guitar effector, mixer, live record
Chen Zhipeng: hand drums
Yan Jun: i-pod, CD, MD, mixer
Lu Chen: vocal, vocal effector, oral organ, clarinet
Mao Dou: vocal, guitar effector, handbell, loudspeaker
Gu Lei: vocal, snowbell, clarinet, strap for sm
Mei 2: telekinesis transmitted far from germany

Live at DDM Warehouse, Shanghai, June 6th, 2004

音乐是从从几个卡林巴(拇指琴)的循环和轻巧的手鼓开始的,随着加了效果器的人声和和电子乐的进入,音乐逐渐变得阴暗。 在第二首的长曲目中,在正弦波和其他可怕的电子音效的背景下,两个人声乐手利用延迟发出了恐怖的尖叫。 像是与上海的朋克和金属乐场景产生了联系。
观众的反应是相当强烈的,他们高声呼喊着,并且我们可以猜测到,听众对这些即兴创作的欢呼也许是因为有一种情感上的共鸣。那声音听起来像是许多人在下赌。 颜峻使用的设备是iPod、MD和调音台。口弦声与中国民歌、西藏僧侣念经声、教堂钟声的田野录音混合在一起,并与陈志鹏的手鼓胶着在一起。而那些有节制的、静态的电子音效,让我想起了 Toshimaru Nakamura,直到这一切被打乱,在颤抖的电子脉冲与逐渐淹没的警报器声中达到高潮,赢得了听众的再一次欢呼。
——Clive Bell(the Wire杂志,2005年10月)

Starting from a handful of kalimba loops and light-fingered hand drumming, the music darkens as electronic wind blasts and effected vocals are added. But halfway through the lengthy second track the gloves come off, and the two vocalists move from grim toying with their delays and effects to a bloodcurdling display of howls and screams. backed up by searing sinewaves and other nasty electronic textures. links to Shanghai’s punk and metal scene suddenly became visible. The audience respond with some pretty fierce whooping of their own, and we might hazard a guess that the freedom embodied in this improvised music has a direct emotional relevance to the listeners. It sounds like there may be plenty at stake here.
Yan Jun himself plays iPod, minidisc and a mixer. Field recordings of Chinese singing, Tibetan monks and church bells mix with a live jaws harp, all effectively glued together by Chen Zhipeng’s hand drums. Much of the electronics is static and restrained – I’m thinking Toshimaru Nakamura – till all hell breaks loose again, as deafening sirens and flickering glitches stampede to a final climax, again to the clear delight of the audience. This is music with a wide dynamic range and weird lack of inhibitions, and a fascinating glimpse into a still little known Chinese scene.
— Clive Bell (the Wire, October 2005)