cd; digipak; 2010
one hour continual sound. entwined with other dim sound of your room.
a continuous sound material from two water pipes in Yan Jun’s washroom. whole file delivered at once by simple mastering (Denoise and Compression only).
设计：阮千瑞 | design: Ruan Qianrui
“Music For Listening On The Moon” is a continuation of “Wormhole Trip OST” (kwanyin 030, 2009).
more about Wormhole.
please keep in touch with me mentally.
This CD is made for the occasion of Moon Life by Alicia Framis, Shanghai. Made possible by Arthub Asia and Far East Far West.
Special thanks to Defne Ayas, Davide Quadrio, Hu Fang, Zhang Wei and Qiao Ying.
review by Brian Olewnick:
An hour of very spare, though slightly spacey electronics that indeed have something of a selenic aspect. The source is apparently an ongoing installation “in Yan Jun’s washroom” (lending an alternate possible meaning of “moon) and one can, in fact, translate many of the sounds into attenuations of drip noises. It’s consistent over it’s length, all variation occurring within a narrow range, but it works wonderfully, integrating into the room, tickling the vacuum. A fine recording.
review by Aquarius Records:
Yan Jun is quite the mover and shaker in the experimental sound arts community in Beijing; yet unlike the avant-garde of China’s visual artists, the big names of Chinese sound art are hardly known outside of the metropolitan areas of China. FM3 would be the only act that most people have heard of; yet artists like Yan have been very active bringing a number of European, Australian, Japanese, and American artists to the mainland as an act of cultural exchange. At the same time, Yan has been producing his own exceptional works including this contemplative album of innerspace travel. The album transcends its humble productions of sinusoidal flutterings of pedal sourced feedback and squiggling aquatic field recordings treated with ring modulation, as Yan seeks a radically different approach to the cosmic listening embarked by the likes of Cluster and Tangerine Dream, whose baroque expansiveness has been subsumed by the vacuum of outerspace (remember the vacant sound design of Stanley Kubrick’s 2001?), with just those two sources intertwining in an endless mobius strip of silvery drone and pointilist tactility. It sounds more like Steve Roden taking over an Asmus Tietchens album and allowing the electronically treated sounds and tones to organically evolve into a radiant blossom instead of the purposefully cold and sometimes stiff compositions that Tietchens often produces. A very intriguing record to say the least! Limited stock on this one.
review by Massimo Ricci’s Touching Extreme:
Where “unspecified instruments” in all likelihood means a no-input mixer and a few additional liquid constituents (*) – presumptively filtered by a heavy equalization – sounding like tiny ghosts, peeping, jangling and rippling here and there over the course of about an hour of opaquely whitish emissions. The music, released in 2011, was conceived for an installation (in the composer’s washroom, of all places) and it does work in that sense even at your own home (also outside the lavatory, I mean) provided that you rotate the volume knob consistently. In fact, the frequency range – though limited to the medium-to-high area – incorporates components that will seriously titillate the sensory receptors. Only in this way we can take into account the consequences of the sonic waves on the neurons; otherwise, all we seem to acquire is a too-quiet “beingness” whose infinitesimal dynamics would not give justice to the effectiveness of the textural continuum. All things considered, an ataraxic listening experience that shows no demand except that of existing and functioning.
(*) Post Scriptum: Yan Jun kindly advised me that “the unspecified instrument is actually two contact mics on pipes and simple mastering (noise reduction and compression only)“. So much for this reviewer’s no-input brain…
Gerald Van Waes