This is a playlist of the Emergence exhibition.

More information here: http://www.sbsemergence.com

sbsemergence.com

Emergence Exhibition

This is a document of the Spring Concert of the Free Music Collective of Shanghai. Recorded March 9, 2024.

Venue: Trigger
Artists: Mai Mai, Xu Cheng, 31, Zhu Songjie, Jun-Y Ciao, Zheng Haozhong, Tao Yi, Tian, Adi, Fish
Recorded by: Terence LLoren @bivouacrecording

See track descriptions for details.

FMCS

Free Music Collective of Shanghai- Spring Concert April 9, 2024 @ Trigger

Recorded 220806 at Eaton HK for the Unheard Sound & Music Festival. Organized by 現在音樂 Contemporary Musiking Hong Kong and Eaton HK

Artist Tsun Winston Yeung performed live coding while sampling his voice which evolved into using FX to manipulate the audio.

Recorded binaurally and rerecorded on old reel to reel tape.

楊俊
Tsun Winston Yeung

​​楊俊是一位電腦音樂家和即興演奏者。畢業於英國伯明翰大學，並於2019年取得音樂哲學博士學位。他的作品遊走於不同的範疇，包括數據聲音化、多聲道聲音、現場編程音樂和不同感應器之音樂應用等。他最近的研究包括利用人體產生的數據為聲音創作的素材。他的作品多為電聲音樂，現場電子音樂和聲音裝置藝術作品。曾於不同的音樂節和國際研討會中演出，其中包括國際電腦音樂研討會和國際現場編程研討會。

http://www.yeungtw.com

Tsun Winston Yeung is a computer musician and laptop music improvisor. Graduated from the University of Birmingham with a PhD in Musical Composition, his outputs mainly explore around the topics of live coding, data sonification, sensor-based performance and multi-channel audio. His recent research investigates computer music performance with the use of data from the human body. The result of his works comprises a variety of genres including acousmatic composition, live electronics performances, as well as installations. His works have been presented and performed in various events around the globe, including New Interfaces for Musical Expression (NIME), International Computer Music Conference (ICMC), International Conference on Live Coding (ICLC), BEAST FEaST, and various Algorave events.

http://www.yeungtw.com

220806- Eaton HK- Tsun Winston Yeung

A spacious and hopeful soundbath performed by Candace Cheung (@crystal-bowl-of-light)using Crystal Tones alchemy crystal bowls. A dreamy, sanguine recording that suspends you just below the surface where you are free to let go and explore your imagination.

The title "Eyes Yet To Open" was inspired by the recording and has a double meaning: the description of that feeling on a quiet morning when your body is trying to pull you into back to reality but you don't let it, and the anticipation of becoming something, possibly a change or a realization.

The first track of our new Sound Bath Series, more tracks will be released featuring various types of Sound Baths such as gongs and metal and singing bowls.

To purchase the full 20:00 track please click the 'Buy' link above to go to our Bandcamp page.

'Eyes Yet To Open' now available for licensing on Pond5:
https://www.pond5.com/royalty-free-music/item/219590757-eyes-yet-open

Buy this Track

Eyes Yet To Open

This is a 5 minute preview of Yumi's full sound bath. To listen to it in full please visit our Bandcamp page: https://soundbathsessions.bandcamp.com/track/sound-bath-024-yumi

Please consider subscribing to support this project.

Yumi gives regular gong baths around Hong Kong. Her humorous and welcoming character complements the emotional sound baths that she performs. Yumi has practiced Reiki for many years and spends her time between Hong Kong and Japan with her family.

This was recorded at Ore Art in Sheung Wan. It was the first solo gong bath I had recorded and it blew me away. I had no idea a single gong could have so much power. Her symphonic gong is very musical with each hit creating a new layer of sound upon the last resulting in an overwhelming wave of sound that fills your mind. I felt new ideas and inspirations emerge perhaps because deep down that was what I was seeking. I would anticipate our future recordings as a time of creation and release.

In the middle of the recording, I had heard a unique sound inbetween the layers. She revealed that she sang into the gong with her voice. It was amazing how it became one with the sounds of gong softening it, making it more human.

Sound Bath Sessions

✨Listen to more here

Sound Bath 024- Yumi

This was the second recording of Candace that we did for SBS. Everytime we record i hear a progression. I don't know if it is her bowl selection or her confidence but the result envelops you like a warm hug more and more. The tinkling of a rain stick at the end to brings you back.

Listen to full track: https://soundbathsessions.bandcamp.com/track/sound-bath-005-candace-cheung

sbsessions.com

Sound Bath 005- Candace Cheung

This recording is a special one for me. It is a track is a track of 'firsts'. This was the first recording I did of Ravina. This was one of the first sound baths she did in her new space. And this was the first recording that I did specifically for Sound Bath Sessions before I even knew what this project was.

Recorded in December 2022, the paint had just dried in her new space and not all of her instruments were there. I remember editing this recording afterward and no matter how many times I listened to it, I got so lost in my thoughts that I forgot what I was doing. And so, the seed was planted that was to grow into this amazing project.

Ravina played metal bowls with the gong, gradually going from one to the other skillfully integrating the two instruments. Her bowls were bought from India and the resonance is amazingly long lasting each with their own character. Each hit from other bowls shaped the sound in such unique ways. Again her powerful improvised percussive style cuts through your thoughts and demands your attention. It was my first time for me to record a gong bath and I was surprised at how much power it had. From then on, I asked gong practitioners to do a sound test so as to limit the amount of power they use during the recording.

Listen to full track: https://soundbathsessions.bandcamp.com/track/sound-bath-008-ravina-daswani

Sound Bath 008- Ravina Daswani

This was the first track I recorded of Candace for Sound Bath Sessions right after the New Year holiday. Crystal bowls still mesmerize me no matter how many times I hear it. Her selection is ever changing with each new shipment that comes in so really no two sessions are alike. She does have her favorite bowls to use but there is a special flair that she selects to make it more special. As she pursues more certifications for sound therapy, her technique has become more precise, confident and her sessions encourage a deeper connection. Not to be missed.

Because it was still school holidays, I invited my daughter to tag along and experience her first sound bath. She said it sounded relaxing but didn't anticipate how uncomfortable a single yoga mat was after 30 minutes. Next time she will layer up. I have since played this to her for her own relaxation and she frequently dozes off to it for an afternoon nap or at bedtime.

Listen to full track: https://soundbathsessions.bandcamp.com/track/sound-bath-009-candace-cheung

Sound Bath 009- Candace Cheung

This is the first track I recorded of Paul. In this session, he played his metal bowls. Every time I listen to this recording it brings me very deep. Slow and steady, his entire body moves to strike the bowl, moving his hand to mimic his breathing.

As he breaths in, his hand moves toward his body. As he breaths out, his hand moves away from his body, not hitting the bowl until he commits to striking it. Watching his performance is meditative in itself.

Listen to full track: https://soundbathsessions.bandcamp.com/track/sound-bath-012-paul-yip

Sound Bath 012- Paul Yip

This is the last track I recorded of Edmond. The three tracks I record from each practitioner allows them to explore their expression over time and results in a great document of their progress.

This track I felt Edmund getting used to the process and opening up with different styles and instruments. He begins with a crystal pyramid chime and seamlessly begins with the bowls. He incorporates more swiping with hitting and the bowl placement was more intentional for the stereo recording. It is a great and soothing session.

Soon after the recording, he contacted me and said he was working on a singing bowl duet with a friend where the bowls are dispersed around the room. It's great to see how this has inspired his creativity for his expression. I can't wait to record it.

Listen to full track: https://soundbathsessions.bandcamp.com/track/sound-bath-011-edmund-chan

Sound Bath 011- Edmund Chan

Another beautiful, minimal track from Elka. There is beauty in everything. Initially dismissed as having a distracting background, after many listens I eventually found that the background sounds are the essence of the recordings of Sound Bath Sessions. They reflect the different places and sounds that Hong Kong has. Welcoming these sounds within recordings has made me more open minded about the project and about the sounds around me as I build my vocabulary of Hong Kong sounds.

Having the city background contrast with the pure tones of the bowls emphasizes them and symbolizes the challenge, but also the hope, that we can cut through the chaos that surrounds us with focus and little effort. I encourage new practitioners to think not only of the immediate sound of their bowls but of the sound beyond them, of the entire experience, and what that could represent as a whole.

Recorded at Elka's private studio that is in a space above her apartment in a small residential area in Yuen Long, the city is kept at a constant distance which is different than the direct sounds in the city center. Birds, everyday sounds of people washing, playing, riding a bike, and talking waft in through a cracked window. It is a wonderful, intimate portrait of Elka and the sounds that surround her in her life.

Listen to full track: https://soundbathsessions.bandcamp.com/track/sound-bath-010-elka-ho

Sound Bath 010- Elka Ho

During the course of recording for the Sound Bath Sessions project, I wanted to see how sound baths were like in other countries around Asia. I scheduled a trip to the Philippines for a few days to see family and record a few sound baths. I was able to get in contact with three practitioners in or near Manila: Rosan Cruz, LJ Navera, and Arianne Olegario.
 
Arianne began her journey of self-healing around 10 years ago when the life she had planned out for herself couldn’t happen. She has learned Reiki, Innerdance, and more recently sound baths for her own self-healing and the healing of others. Arianne works as a consultant for USAID specializing in gender equality for development projects in southeast Asia.

Another great one from Arianne. I like the way she strikes a single bowl multiple times before moving on, firmly embedding it in your consciousness before moving on. The sultry rim sweep allows the streetscape sounds emanate from below. It is as if she is playing with the world beyond the space.

Listen to full track here: https://soundbathsessions.bandcamp.com/track/sound-bath-037-arianne-olegario

Listen to full track

Sound Bath 037- Arianne Olegario

I traveled to Lipa City which was around 45 minutes drive from where my family lives. His name was mentioned by several people whom I contacted about the recording and luckily, I was able to record him on this trip. LJ is an artist that uses many mediums for his work. He uses many instruments in his sound baths, some of which he makes himself, such as his hand pan, mini gong, and digeridoos. His extensive bowl collection assures a unique performance every time. He also uses a loop pedal to create rhythms that he adds layers to as he improvises. Not your orthodox sound baths sessions, LJ infuses his creativity to create meditative music. 

In this session, LJ layers instruments over a drum loop he created before he solos on his hand pan.

Listen to Full Track

Sound Bath 039- LJ Navera

Yumi gives regular gong baths around Hong Kong. Her humorous and welcoming character complements the emotional sound baths that she performs. Yumi has practiced Reiki for many years and spends her time between Hong Kong and Japan with her family.

Yumi gently begins by singing in her gong before enveloping you with sound. She had just gotten her new titanium gong and this was the first time performing with it. As it is a smaller gong, it has a higher, sharper tone than her large symphonic.

Sound Bath 040- Yumi

Candace sometimes organizes a collaboration between interesting people she meets. This collaboration is with Hafsa a spiritual alternative healer, and Karina a yoga instructor at Ikigai. Hafsa worked as a professional singer in the past and she improvises some lyrics and drum chanting over Candace’s crystal bowl drones. Karina also plays the bowls lending another layer to the performance.

Sound Bath 041- Candace Cheung / Hafsa Khan / Karina Curlewis

During the course of recording for the Sound Bath Sessions project, I wanted to see how sound baths were like in other countries around Asia. I scheduled a trip to the Philippines for a few days to see family and record a few sound baths. I was able to get in contact with three practitioners in or near Manila: Rosan Cruz, LJ Navera, and Arianne Olegario.
 
Arianne began her journey of self-healing around 10 years ago when the life she had planned out for herself couldn’t happen. She has learned Reiki, Innerdance, and more recently sound baths for her own self-healing and the healing of others. Arianne works as a consultant for USAID specializing in gender equality for development projects in southeast Asia.

Arianne plays metal singing bowls at Yoga Shala, Manila.

Sound Bath 042- Arianne Olegario

Helen Kwok has been practicing sound healing for about 7 years and opened her own space in Wan Chai 2 years ago. 

Helen's style is very, v.e.r.y. slow letting each bowl ring almost endlessly as I was taken in their custody to the depths of myself. To have such great restraint demonstrates a deep understanding and mastery of her craft and instruments. Her interests have recently been distilled even further by studying the shamanic drum, perhaps the most primitive healing tool, having only a single tone but using infinite rhythm patterns to trigger different conscious states. She feels the drum is more powerful than the bowls and regularly incorporates it in her sound baths.

In this track, Helen plays the metal bowls. Like her shamanic drumming, the cadence is slow and steady, striking the bowl on each breath and letting the bowl fully ring out before striking again. The bowls have an amazing sustain lasting at least 30 seconds with a gentle tap. Recorded several stories above the street, the busy sounds of Hong Kong can be heard in the background. Looking for a super slow and relaxing track, this is for you.

Sound Bath 043- Helen Kwok

Manuela worked as a social worker for 10 years helping mentally handicapped children and adults before beginning her sound bath and yoga practice. Besides managing her studio, she gives sound baths and yoga sessions every month to senior citizens as several community centers in town to help them dela with stress, insomnia, and physical problems.

This track was also recorded with the microphone placed on the floor. This time Manuela, arranged the bowls in a circle around the microphone in a different arrangement. Very immersive track.

Sound Bath 044- Manuela

Michelle Chow has been a sound bath practitioner for a few years and has recently been learning and using tuning forks in her therapy sessions. Michelle Chow has been a sound bath practitioner for a few years and has recently been learning and using tuning forks in her therapy sessions.
In this recording, Michelle plays tuning forks. Recording tuning forks requires the practitioner to sit very close to the microphone resulting in a very intimate recording with no indication of place. Your hearing becomes very acute noticing very minute sounds. You can hear the distant streetscape, her adjacent tenants moving outside the room, and a tiny water feature trickling in her office. Her choice of tuning forks and the way she moves back and forth sometimes swirling, sometimes steady, rocks you back and forth lulling you to sleep.

Sound Bath 045- Michelle Chow

Yumi introduced me to Queena whose studio is in the same building as Ore Art. They wanted to improvise a sound bath together. Improvising with other people is always a challenge but the rewards can be great. Trust is a big part of a successful performance and their performances were pretty amazing. Queena played a single medium size gong while Yumi played her large symphonic gong. Their improvisations yielded emotional and moving recordings and are some of my favorite. Even though they seldom play together, their connection and dialogue borders on instinct. 

For this recording, Queena and Yumi sat on opposite ends of the room with their backs to each other. I thought it would be interesting to have a separate rhythm and sound immersing the listener. The placement of the gongs resulted in an interesting dramatic imbalance.

Sound Bath 046- Queena Yumi

Rosan Cruz is based in Manila and was one of the practitioners that I was able to record earlier this year on my visit to the Philippines. Her sessions were recorded in her apartment in Green Hills where she holds sessions. She usually plays planetary gongs which as I learned are gongs tuned to a specific frequency and have a more controlled sound. Symphonic gongs are more musical and random in nature yielding other-worldly, ethereal sounds. Planetary gongs also have spiritual meanings that sound healers use to create gong combinations according to clients needs. In performance, I feel planetary gongs lend a narrower, stable sonic spectrum within a wide and powerful image.

For this session, Rosan used a single Pluto gong for this recording. Pluto is used to eliminate toxicity, clear emotional trauma and aid in major life transitions such as life and death. This recording is so moving and heavy. Prepare to be crushed.

Sound Bath 047- Rosan Cruz

In Tai Wai to record the second session of Kaman. This time we recorded in a piano room in her residential complex. After we started in what we thought was going to be a quiet location, a group of children invaded the playground area which happened to be in the same space! We carried on with the rest of the session with Kaman adding a few minutes at the end to compensate for any future edits.

Upon playback I discovered there were only a few spots where the kids were too loud. There were other spots that the kids could be heard but I think I will keep it. It gives a sense of place.

Kaman used her crystal bowls with the monochord this time. In the quiet room, I could finally hear the monochord’s sound, which at times sounded almost human-like. I could have sworn I heard it sing or speak. I think the pairing of the bowls and monochord was perfect and is one of my favorite sessions I have recorded.

Sound Bath 048- Kaman

Giorgio has an amazing antique collection that encompasses many different styles of bowls, each with their own characteristic. Some had several amazing sounds both dissonant and harmonious all within one bowl. When purchasing new bowls, he prefers the adventure and serendipity of exploring and finding single bowls with character rather than purchasing complete sets. This creates his eclectic signature sound. Giorgio has a deep knowledge of music throughout his life and is the only practitioner I have recorded so far with formal music training. He enjoys wandering around the unstructured improvisations that sound baths allow always listening and experimenting for new sonic discoveries.

This was the first recording I made of Giorgio at his Apartment in Central with his collection of unique bowls.

The beauty of this recording is that you can listen to the recording to admire his personal collection of sounds or for meditation purposes. When you listen try to hear the subtle nuances of all the bowls he plays. Some characteristics come out depending on how hard the bowl is struck. Others come out when sounded with other bowls. All in all, it is a very relaxing track.

Sound Bath 049- Giorgio

While I like to record all the tracks at once for efficiency, spacing out the recordings can create a more varied performance. Emma and Vicky could only record once track a month but each recording had a clear concept form the last one.

In this one, Emma used the rain hoop and ocean drum during the piece while Vicky played the bowls in the background. This was unique because, the bowls usually take precedence in the session. This is also an example of how great having another pair of hands can really make each session unique.

Sound Bath 050- Emma & Vicky

I recorded Brenda at her teacher’s space about 10 minutes walk from the Kam Sheung MTR. The space is next to the teacher’s house and she also holds her sound baths there on occasion. There is a vegetable garden that is tended to by helpers and his students. It was a sweltering early summer day and you can hear the cicadas, dogs, and caretakers wandering in the heat. Brenda plays several instruments in her sound baths including the shamanic drum, gong, and a small shruti box. The most unique instrument she uses is her voice as she chants harmonizing with the instruments and singing well-wishing mantras that she has learned over the years from her teachers.

Brenda begins with the Shruti box and a chant. She used another one of her gongs this time having deeper and moving sound. There was some yard work being done and the animals in the property can be heard in the background.

Sound Bath 051- Brenda

Giorgio has an amazing antique collection that encompasses many different styles of bowls, each with their own characteristic. Some had several amazing sounds both dissonant and harmonious all within one bowl. When purchasing new bowls, he prefers the adventure and serendipity of exploring and finding single bowls with character rather than purchasing complete sets. This creates his eclectic signature sound. Giorgio has a deep knowledge of music throughout his life and is the only practitioner I have recorded so far with formal music training. He enjoys wandering around the unstructured improvisations that sound baths allow always listening and experimenting for new sonic discoveries.

This was the final recording of Giorgio. That day I had two other sound bath sessions already recorded and I got to his apartment at 11pm which was intentional so that the traffic sounds in Central would be less. He plays is collection again in a very slow fashion, letting each bowl fully ring out. He would sometime hold the bowls in his palm and play them which allowed him to ‘place’ the sound in the recording more to the right or left, adding some subtle movement.

Sound Bath 052- Giorgio

It had been more than 6 months since I recorded Nicky, and was happy to schedule another session with her. Our last recording was not ideal as there was construction happening just down the hall which really contrasted with her soft and slow style. This time, we recorded in her studio space which was quiet, smaller, and more comfortable. The space was filled with her own things like furniture, a digital piano, and other things she used for her spiritual practice. The place had a great sense of identity.

Nicky used her metal bowls again and added a couple of crystal bowls. Like before, she still used a sequence but it felt more free this time, perhaps because of the location but also of her own maturity of playing style. The session was really relaxing as I was almost fully asleep, occasionally twitching. I wondered how and why I could be in such a deep trance. Reviewing the track at home, I found that for me, tempo=depth. The time between each strike determined the depth at which I was in my trance. Longer time between strikes pulled me deeper down, while shorter times brought me up to the surface. Her space faces a highway so there is the soft swishing of passing cars throughout the track. All of these elements in the recording create a wonderful image of space.

Sound Bath 054- Nicky Sum

I recorded Brenda at her teacher’s space about 10 minutes walk from the Kam Sheung MTR. The space is next to the teacher’s house and she also holds her sound baths there on occasion. There is a vegetable garden that is tended to by helpers and his students. It was a sweltering early summer day and you can hear the cicadas, dogs, and caretakers wandering in the heat. Brenda plays several instruments in her sound baths including the shamanic drum, gong, and a small shruti box. The most unique instrument she uses is her voice as she chants harmonizing with the instruments and singing well-wishing mantras that she has learned over the years from her teachers.

Brenda begins by playing the shamanic drum made with animal hide while holding chimes. The sound is more muted and direct with no sustain which complements her slow breathy chanting and singing. She transitions over to a great symphonic gong with this amazing minor harmonic. Every time she hit that harmonic it felt so uplifting.

This track was bittersweet for me because as a dog was barking over the first half of the track which made it difficult to connect. But the sound of the Gong was just so amazing that it totally made up for it. I asked her if we should do it again and she didn't mind the barking. If I had stopped, would we have gotten what we did? Sometimes I regret stopping a recording because the second time just has a different destiny. This one is for listening. Enjoy.

Sound Bath 055- Brenda Pang

Sheung Ning began learning about sound baths a few years ago and regularly performs sound baths. A self- proclaimed introvert, she finds that sound baths allow her to express herself creatively and makes her more outgoing. These recordings were recorded one evening in Lai Chi Kok. In the recordings, you can hear the sounds of late evening in the building as the shopkeepers close their roll down gates, Jangle keys, and leave footsteps that disappear in the distance. It is a great description of place and location.

I felt this recording was grounding and very comfortable. The sounds of shop closings and doors interrupt occasionally but describe the time and place of the recording and she plays through them anyway. She ends with a very quiet tone and silence before she plays her smaller bowls in a melodic fashion to bring you back from sleep.

Listen To Full Track

Sound Bath 057- Sheung Ning

This is the last track I recorded of Ravina. Every time I met her I always heard some faint music. I always thought it was coming from a different room. One day it was a bit louder and I asked about it. "It's a mantra chant from my teacher", she said. She keeps it on even at home to just fill the air and space with good wishes. For this one, I wanted the mantra a little more noticeable and just left it playing during the sound bath. It is a bit challenging at first when you listen as it contains a constant beat that keeps stealing your attention. But as you have experienced in your own sound baths, life is happening all around us- be it cars, or birds, we have to find a way to focus and integrate with the present.

I have found- even when listening outside- the key is not to separate, it is to combine. Hear everything at once. When I first realized this almost 20 years ago (2004), it changed the way I hear. It changed how I experienced the world.

We filter, or separate, sounds when we are conscious and that is what makes us so tired. Keep an open mind, focus between the two sounds, and welcome what is given.

This skill will make the future Sound Bath Sessions recordings more enjoyable. Once mastered, you may never hear the same way again.

Listen to full track: https://soundbathsessions.bandcamp.com/track/sound-bath-013-ravina-daswani

Sound Bath 013- Ravina Daswani

I recorded Calvin at Room Ganesha in Mongkok. He combines the sounds of several instruments in his sound baths using metal singing bowls, tongue drum, and hand pan. Not formally trained in sound healing or music, Calvin’s approach is more about freely exploring sound for relaxation, meditation, and performance. He experiments with interesting combinations of instruments and sounds. The busy street below can be heard in the space.

Calvin begins playing the tongue drum in a wonderful abstract fashion. I have mainly heard the drum played in a melodic, musical fashion so this improvised passage is quite dramatic and refreshing. It felt like he played the tongue drum like the metal bowls so that when he made the transition it was quite seamless. He also played with the depth of the stereo field by walking around the room with the bowl or by holding the bowl close to the microphone much like Michelle Chow did using tuning forks.

Sound Bath 053- Calvin Chan

This is the recorded livestream of Kaman Yip's session for the Emergence exhibition at the Crystal Bowl Of Light's studio and gallery in PMQ in HK.

Emergence

Emergence exhibition Livestream- Kaman Yip April 19, 2024

This was recorded at PMQ in Candace’s studio. Tata and Candace perform with a symphonic gong and crystal bowls. The mysterious gong paired with the flowing crystal bowls complement each other perfectly with their long sustained drones and multi-layered tones. Life beyond the space is also incorporated in the composition of the recording. A glass sorter on the street below mixes glass bottles together that creates a relationship with the bowls that Candace plays. The resonance of the bottles from the opposite buildings create an amazing sense of space.

More information here: http://www.sbsemergence.com

Sound Bath 096- Tata Tse, Candace Cheung

As soon as I heard her slowly twisting the shaker at the beginning of the recording, I knew this was going to be something special. Recorded in the comfort of her apartment, Martina has been practicing sound arts for many years and her mastery of skills can be heard in this recording.

For this recording, she played her first collection of singing bowls. Her intimate knowledge of their voices was like a conversation between old friends. She begins chanting with overtone singing which softens the rigid, precise tones of the bowls. 

There is this embracing texture to the recordings that is owed to how the space reflects the tones. It has a comfortable air to them that is not overwhelming, nor too empty.

More information here: http://www.sbsemergence.com

Sound Bath 092- Martina Lee

Michelle Chow introduced me to her friends Lily Lau and Felis Hui, two women who play the shamanic drum. After two recordings with them in their studio in Tsuen Wan, they invited Michelle to play with them. They planned a little bit before the recording and just began playing. 

As the composition began taking shape, Michelle provided a constant drone and rhythm with her bowls while Lili and Felis began chanting with each breath, sometimes harmonizing and sometimes dissonant. There was a little bit of beautiful overtone singing at one point.
More information here: http://www.sbsemergence.com

Sound Bath 090- Lily Lau, Michelle Chow, Felis Hui

This track is part of the Emergence exhibition. On a bridge over a small stream in Chung Uk Tsuen I recorded the last one of Wai’s sessions. Rainclouds were slowly approaching as we began the final recording. Wai starts by listening to the natural sounds of the stream for a few minutes before playing his metal bowls. It was then the soft drizzle began to fall but that didn’t distract him from his session. He began to play his shamanic drum in a sustained repetitive rhythm, its deep tones resonating like a heartbeat. Pools formed in his bowls as the rain kept falling but we remained until the end of the session. The natural atmosphere of the piece feels quite vast as there was no resonance to create a space. In contrast, his sounds are more direct and isolated.

Sound Bath 083- Law Bun Wai

Alfonso and Olivia are a couple that live in an intimate neighborhood in Kam Sheung. They are both artistic in nature which is what inspires their sound baths. Their sessions were more like abstract performances, an exploration of their instruments and their connection to each other while improvising. Alfonso played the metal singing bowls incorporating drones and various striking techniques while Olivia softly played broken melodies on a tuned tongue drum. 

The composition as a whole is a slow meditative performance that maintains its style throughout. An open door in their apartment welcomed the sounds from their neighbors and their daily chores to give it an identity and complete the piece.

More information here: http://www.sbsemergence.com

Sound Bath 063- Alfonso Sum, Olivia Fung

The third and final recording of Mic was back on the beach a Tuen Mun against a beautiful backdrop of breathing ocean waves and the distant throbbing of boat engines she performed he composition. Today her husband helped her bring a larger collection of bowls adding to the complexity of the days recordings. After the recording, we both had a really good feeling about the session. I felt as if she integrated the entire soundscape into the session, listening beyond the sound she made and treating life as an instrument. It is a beautiful piece.

More information here: http://www.sbsemergence.com

Sound Bath 061- Mic Yeung

As I entered her studio in Kwun Tong, she had two small groups of crystal bowls. “I have a surprise for you, see if you can hear it.” She said. The piece started with a very somber tone. I felt there was a yearning, a calling in the beginning. She slowly transitioned to the second group which was more hopeful, and lively. This session was interesting because there was a predetermined concept for the composition that allowing her to freely improvise within its own limits. Ana has a large collection of crystal bowls and intimately knows each one. She does have a passion for music and her approach to singing bowls was more personal, molding her own style by exploring and experimentation. Her studio is next to a highway and a large construction site in Kwun Tong which is softly heard through the window of her space.
More information here: http://www.sbsemergence.com

Sound Bath 059- Ana Chung

This is a document of the Spring Concert of the Free Music Collective of Shanghai. Recorded April 9, 2024.

Track 08:
下午茶餐厅
作曲：阿笛
乐团
Guitars: 31 / Zhu Songjie
Sax: Jun-Y Ciao / Zheng Haozhong
Trumpet  and Percussion: Tao Yi
Cello: TIAN
Violin: Adi
Bass and electronics : Fish
Electronics: MAI mai
Recording playing: Xu Cheng
时间:2024年3月9日(周六)

Venue: Trigger
Artists: Mai Mai, Xu Cheng, 31, Zhu Songjie, Jun-Y Ciao, Zheng Haozhong, Tao Yi, Tian, Adi, Fish
Recorded by: Terence LLoren @bivouacrecording

Spring Concert

Live at Trigger 24.03.09- 08 Ensemble

This is a document of the Spring Concert of the Free Music Collective of Shanghai. Recorded April 9, 2024.

Track 07:
SOLO
作曲：徐程
徐程
Guitar: Xu Cheng

Venue: Trigger
Artists: Mai Mai, Xu Cheng, 31, Zhu Songjie, Jun-Y Ciao, Zheng Haozhong, Tao Yi, Tian, Adi, Fish
Recorded by: Terence LLoren @bivouacrecording

Live at Trigger 24.03.09- 07 Xu Cheng

This is a document of the Spring Concert of the Free Music Collective of Shanghai. Recorded April 9, 2024.

Track 06:
公平演奏
作曲：照骏园
乐团
Guitars: 31 / Zhu Songjie
Sax: Jun-Y Ciao / Zheng Haozhong
Trumpet : Tao Yi
Cello: TIAN
Violin: Adi
Bass and electronics : Fish
Voice: Xu Cheng
Electronics: MAI mai

Venue: Trigger
Artists: Mai Mai, Xu Cheng, 31, Zhu Songjie, Jun-Y Ciao, Zheng Haozhong, Tao Yi, Tian, Adi, Fish
Recorded by: Terence LLoren @bivouacrecording

Live at Trigger 24.03.09- 06 Ensemble

This is a document of the Spring Concert of the Free Music Collective of Shanghai. Recorded April 9, 2024.

Track 05:
暴风雨是温柔的
作曲：没腿的马和卷毛骑士
没腿的马和卷毛骑士
Sax: Jun-Y Ciao
Trumpet and Percussion : Tao Yi
Bass and electronics : Fish

Venue: Trigger
Artists: Mai Mai, Xu Cheng, 31, Zhu Songjie, Jun-Y Ciao, Zheng Haozhong, Tao Yi, Tian, Adi, Fish
Recorded by: Terence LLoren @bivouacrecording

Live at Trigger 24.03.09 -05 Jun-Y Ciao, Tao Yi, Fish

This is a document of the Spring Concert of the Free Music Collective of Shanghai.

Track 04:
作曲：徐程
乐团
Turntable and electronics: MAI mai / Xu Cheng / 31 / Zhu Songjie / Jun-Y Ciao / Zheng Haozhong / Tao Yi / TIAN / Adi / Fish

Description:
Ensemble gather around a turntable and electronics, taking turns to manipulate program.

Recorded April 9, 2024.
Venue: Trigger
FMCS Artists: Mai Mai, Xu Cheng, 31, Zhu Songjie, Jun-Y Ciao, Zheng Haozhong, Tao Yi, Tian, Adi, Fish
Recorded by: Terence LLoren @bivouacrecording

Live at Trigger 24.03.09- 04 Ensemble

This is a document of the Spring Concert of the Free Music Collective of Shanghai. 

Track 03:
卖卖演唱《my way》
作曲：卖卖
卖卖
Voice and electronics: MAI mai

Recorded April 9, 2024.
Venue: Trigger
FCMS Artists: Mai Mai, Xu Cheng, 31, Zhu Songjie, Jun-Y Ciao, Zheng Haozhong, Tao Yi, Tian, Adi, Fish
Recorded by: Terence LLoren @bivouacrecording

Live at Trigger 24.03.09- 03 Mai Mai

This is a document of the Spring Concert of the Free Music Collective of Shanghai.

Track 02:
Composition #7 （1960）
作曲：La Monte Young
吉他四重奏
Guitars: MAI mai / Xu Cheng / 31 / Zhu Songjie

Recorded April 9, 2024.
Venue: Trigger
FMCS Artists: Mai Mai, Xu Cheng, 31, Zhu Songjie, Jun-Y Ciao, Zheng Haozhong, Tao Yi, Tian, Adi, Fish
Recorded by: Terence LLoren @bivouacrecording

Live at Trigger 24.03.09- 02 Xu Cheng

This is a document of the Spring Concert of the Free Music Collective of Shanghai. 

Track 01:
Solo for Violin, Viola, Cello, or Contrabass (1962)
作曲：George Brecht
乐团版本改编（2024）
Guitars: MAI mai / Xu Cheng / 31 / Zhu Songjie
Sax: Jun-Y Ciao / Zheng Haozhong
Trumpet : Tao Yi
Cello: TIAN
Violin: Adi
Bass and electronics : Fish

Description:
Performers cleaned instruments throughout piece.

Recorded April 9, 2024.
Venue: Trigger
FCMS Artists: Mai Mai, Xu Cheng, 31, Zhu Songjie, Jun-Y Ciao, Zheng Haozhong, Tao Yi, Tian, Adi, Fish
Recorded by: Terence LLoren @bivouacrecording

Live at Trigger 24.03.09- 01 Ensemble

青岛的西海岸叫黄岛，有个词叫“青黄不接”，轮渡就是多年来将青岛东西海岸连接起来的海上公交 / 2012年海底隧道通车后，当年熙熙攘攘的盛况不再，但轮渡的汽笛与胶州湾的海上美景，依然亲切与温暖，那是一个逝去的年代在心底的回响//

On the west coast of the Qingdao’s Huang Dao, ('Qing' in Chinese means green and 'Huang' meaning yellow) there is a phrase in Chinese called 'green and yellow do not join' (which means 'temporary shortage of harvest') / The ferry has for many years connected the east and west coasts of Qingdao (Qing and Huang Island) /After the undersea harbor tunnel was opened in 2012, the busy commuting ferries on the water surface could no longer be seen / But the Ferry’s whistle with the Jiaozhou Bay’s beautiful views still warms the heart / The end of an era still close to the hearts of many //

About the Artist:
刘思远，音乐人，策展人 /先疯实验团体NOJIJI成员，四线方格乐队主唱，ONG乐队成员 / 青岛金沙滩音乐节、西海国际现代艺术空间、乌托邦行动独立音乐节、几何聚相独立艺术节等艺术活动策划人 //

Liu SiYuan is a musician and curator / He is a part of the experimental group NOJIJI, the frontman for Four Square Wire, and part of the group- ONG / He organizes the Qingdao Golden Beach Festival, Xihai International contemporary Art Space, Utopia Independent music festival, and plans and organizes independent artist and arts events //

60 Minute Cities- Qingdao

Listen To Album

Qingdao- 轮渡 | Ferry- Liu Siyuan

16.12.16 / 12:05 / 37° 32.271 N, 77° 25.646 W / Burial Ground For Negroes On 1500 Block Of East Broad Street / Estimated to be active between 1750 and 1816, Richmond's Burial Ground for Negroes was the final resting place for uncounted numbers of Africans enslaved by Europeans / The mass grave has been abandoned and repurposed a number of times since the last body was laid to rest there / Misappropriations of the site have included the Richmond City Jail, and in the 1930s, the City dog pound / Finally reclaimed and memorialized in the 1990s, the Burial Ground is now partially paved over by Interstate 95 / In this recording, you hear the sounds of automobiles passing on the directly adjacent interstate, as well as helicopters traveling to and from the neighboring VCU health center //

All recordings, text, and photos by Katie Wood
See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_richmond

60 Minute Cities- Richmond

Buy This Album

Burial Ground For Negroes At 1500 Block E Broad St

Bivouac Recording is a sound label based in Hong Kong.
Bivouac Recording是一个录音品牌且提供录音服务的公司，致力于推进独立现场录音项目。

For a richer experience of the field recordings and audio please read the descriptions for each track. 

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