The world needs PROF355IONA1 H31P. Now, more than ever. These three synth-heads have dusted off the old analog sequencers and drum machines to put together some post-Berlin School sculptures.

世界需要 PROF355IONA1 H31P，此時此刻。三位合成器狂熱者掃去了老舊類比序列機和鼓機上的灰塵，與後柏林雕塑組合在一塊，而他們正在台北做這件事。

Population Engine begins with a liquid synth ostinato that is soon joined by an electronic tom pattern. It reminds the listener of the time before techno was codified and regimented into strict 16-bar sequences, when toms drove the dance floor and the drum kit wasn’t limited to just kick, hat and snare. Psychedelic melodic whistles appear, only occasionally contenting themselves with staying in the same key as the bassline. The hi-hats open up, the cowbell announces that it exists, and now we’re driving across an electro landscape. We can’t stop here, this is electro country. The synth clouds are spreading out … looks like rain. The drums are fading into the background as the storm gathers power. It feels like we’re approaching the end of something … the synths are changing the climate … the center cannot hold.

Population Engine 以合成器潺流而出，電子節拍銜續而入。使聽眾憶起techno被編入嚴格16 小節序列前的年代：中鼓在舞池中穿梭，鼓組也不僅限於大鼓、踏鈸或小鼓。迷幻的口哨旋律出現，與貝斯時而重疊，又交錯。踏鈸打開，牛鈴開始大聲宣告，我們正飛梭於電子音景之中。這是屬於電子的國度，而我們不宜久留。聲音如雲般散開……又化為雨。隨著暴風凝聚，鼓聲緩緩隱沒於背景中。我們正往盡頭靠近……聲音正在改變氣候……而其中心已逐漸失控。  

The second track, Upgradeable Assistant, also begins with a synth sequence, which is joined by a second. The notes are woozy, struggling to maintain coherence. Behind them, a steady rhythm is emerging. Rather than conventional drums, we have repeated hammered triggers and clicks. Something here feels slightly more optimistic than the opening track. Something is struggling to grow. A jenga tower of pitched notes and rusty drum clacks is swaying slightly as it accumulates more and more layers, but the structure is resilient enough. The algorithm is sound. The construction stands firm even as certain notes lose their tonal center. The pitches resolve towards a central point. The upgrade is complete.

第二首Upgradeable Assistant以節拍序列開場，即便在迷濛的聲音中也維持其連貫，穩定的節奏從身後浮現。不同與以往的鼓聲，這裡重複敲擊、鎚擊，扣下扳機。這兒比開場曲稍稍樂觀些。有些什麼正在蠢蠢欲動。一個由銳利音符與鏽化鼓聲建構的高塔隨著層數堆升而開始搖晃，但結構有著足夠的彈性。聲音即是演算的方法。即使某些音符失去了調性中心，結構仍然牢固。音調朝向中心點進化，升級就緒。  

This single seems like the beginning of great things for PROF355IONA1 H31P . The beats would lend themselves well to live performance and further improvisation. Let’s hope we get the H31P we need.

這首單曲是 PROF355IONA1 H31P 往前邁進的開端，伴隨節拍，在演出與即興間彼此帶領，期望得到我們所需的H31P。

Population Engine

晶瑩而迷離的合成器襯底浮現，在空中盤旋。

伴隨機械般人聲、悲戚的哭語，或不帶情感的聲音。深邃的低音曲調與極簡鼓點同時浮現：這是來自PAIN的音樂。

有些東西從音樂中剝離了，或許是PAIN無法自述這部分的痛苦，已不再相關的，不需要有所連結。

在深海中懷念雙眼所見、懷念沈默，與什麼都不懷念的人，這是給你們的音樂。有著八零年代的音樂元素、九零年代的RnB和現代電子，但PAIN數年來從未改變。

晶瑩的合成器襯底仍旋轉著，如同以往。無動於衷的低音貝斯、鼓點再次圍繞相同的節奏，而PAIN還在這。
他會消散嗎？

A glassy, blurry synth pad appears, rotating in the sky.

A robotic vocal, or a plaintive cry, or an emotionless voice appears to accompany it. Dark bass tones or minimal drums may also appear. This is the music of PAIN.

There’s something stripped out of this music. Maybe they hurt PAIN so badly that he can no longer address that part of himself. He can’t put it into his music because he no longer relates to it.

This is music for people who are lacking something. This is music for people who miss your eyes, people who miss silence, people who miss nothing, people living in a dark ocean.

I could tell you that there are elements of 80’s music, 90’s r’n’b, and modern electronica, but the PAIN hasn’t really changed over the years.

The glassy synth pad is still rotating, same as it ever was. The bassline is indifferent. The drums cycle through the same pattern again. The PAIN is still here. Will it ever fade?

10.SILENCE OF PEACE

09.CHANGE

08.NOTHING

07.HEARTBREAK

06.MISSING U

05.DARK OCEAN

04.RESET

03.YOUR EYES

02.BLURRY FACE

01.INTRO

from "v/a - Wolong 臥龍"
full album: https://futureproofsounds.bandcamp.com/album/wolong
D/L: https://www.mediafire.com/file/mlb5zb6s2zyaan9/FUTURE%20PROOF%20%u9762%u5411%u7570%u65E5%20-%20Wolong%20%u81E5%u9F8D%20%28FPRS001%29.zip

Wolong 臥龍 

Geometer - Xinzhu

Monofee - all my cats are dead

Opal Beau’s music transposes rhythms and harmonies as remembered from childhood vacations, or upon a poor quality stream from a divey club, to present a metaphor for the social collapse we are now living through. This will be opal beau’s first release since relocating to Taipei about two years ago.

Opal Beau - dumbfound

Cheng Daoyuan - 旣 Apeiron
(FPRS008)

-
「旣」，同「既」
引伸之義為盡也已也。
旣者、終也。終則有始。小食則必盡。盡則復生。

Apeiron, the end is the beginning, death is birth, nothingness is everything.
-

旣 Apeiron (FPRS008), is the debut album by Taiwanese artist Cheng Daoyuan. Its waves of distortion crash into, and over one another; buried tones are barely visible in a dark sea of fuzz and decay, occasionally drifting towards the surface to groan. This collection should only be purchased with currency issued by the Bank of Hell.

旣 Apeiron is structured into three chapters, each of which have their own independent themes and changes. Track eight, “幽示 Divulging,” is a collaboration between Cheng and the Taiwanese conspiracy psychedelic trio, Mong Tong. The album also includes remixes that feature interpretations by peers - Wa?ste, Yearning Kru and Yun Hao.

Contrasts are what Cheng presents. Throughout this numinous volume, impossible sounds are brought together, like the artificial bleeps meeting somber piano tones on “離界 Eidolon.” These unlikely partners are forced together to compete in an arena of noise – summoned, perhaps, like minor demons. Here sounds burn, like hellish bank notes - consumed by flames and sent to another, darker realm.
-
released December 29, 2019

Label : Future Proof : 面向異日
Format : Cassette / Digital
Cat.No : FPRS 008
Release Date : 29 December 2019 (Digital)
29 January 2020 (Cassette)
-
Mixing & Mastering / Hom Yu
Cover Artwork / Cheng Daoyuan
Photography / Danist Wen
Installation Assistance / Danist Wen, Jazmin Pan
-

music by: @clansie-cheng

collaboration on track 08 w/ @mongtong
remix tracks 13, 14 & 15 by @yearning-kru, @yunhaoc & @wa-ste222

Cheng Daoyuan - 如縊 Strangle To Survive (Wa?ste Remix)

Cheng Daoyuan - 亙裂 Eternal Disintegration (YunHao Remix)

Cheng Daoyuan - 離界 Eidolon (Yearning Kru Remix)

Cheng Daoyuan - 幽示 Divulging (feat. Mong Tong)

Cheng Daoyuan - 歸獄 Nether World

Cheng Daoyuan - 悖覺 Against Abstruse

Cheng Daoyuan - 虛見 Hollow In Emptiness

Cheng Daoyuan - 涅辰 Overshadow

Proximity Departed

Future Proof Bandcamp

Market Crash - Colour Domes

Mechanical Canyon - Colour Domes

On “Proximity Departed,” the title track, at one point we can hear the commands being given from one element of the military industrial complex to another. That’s the key. The threat hangs over this island. It’s a normal day at work, except no one can go outside for an hour, because a fighter jet is going to practice landing on a highway just in case the landing strips are all bombed.

Proximity Departed - Colour Domes

Moons Of Wing - Colour Domes

On “Stacks of White Paper” the synths begin enharmonic, like theoretical gongs. There are identifiable hi-hats, there are white-noise-burst snares, and there are the  proto-melodic sequences that actually turn out to be percussion. In fact, a classical song structure begins here and continues through the EP - and in a way it doesn’t on many previous Future Proof releases: a shape is there, a form is half-visible through the murk, buried like a fossil. It’s probably “Industrial Music.” That form, that sensibility, the drudging tempos and garbled/muttered vocals - a genre from a time when our lives weren’t already completely industrial.

Stacks Of White Paper - Colour Domes

(Z)erpents – Black Mold and Hot Springs, Taipei - 黑黴與溫泉，台北

This is a soundtrack; close your eyes - you can see the film. While the camera strains, image wobbling, making the most of a lack of light, there are riots in the streets; armored vehicles blasting water cannons; a teenager in a bandana kicks a tear gas canister back toward the line of cops. Natural disasters; a wall of water washing cars from the street; half-finished skyscrapers collapse; cracks opening in the earth’s surface. 

這像是電影配樂，在閉上雙眼之際便能清楚看見這部電影。鏡頭過濾、晃動，將所有的光去除。街上的抗爭、武裝載具發射加壓水砲、穿戴頭巾的少年將催淚瓦斯踢回警察防線之中。天災襲來：雨牆沖刷街上的汽車，未完成的摩天大樓接續倒塌，將地表鑿出了個大洞。

Like a soundtrack, you can feel the music abruptly shifting from one scene to another, unheralded, uncued, shifting direction like a school of fish or a mob of protestors. At first it’s just the drums spattering rapidly forward, traditional snares and kicks alongside muted dull cymbals and rattling pans and trash can lids. Then a raucous, enraged saxophone, maddened beyond belief and REFUSING to shut up, suddenly appears running alongside the drums. Rhythmically, the two are locked, though they still both feel like they’re being played while falling down a long flight of stairs.

你可以感受到聲音瞬間切換至另個場景，似電影配樂般 - 無預警、毫無保留的的轉換方向，如魚群或抗爭群眾。最初只是鼓聲快速的擊濺，傳統的小鼓、大鼓伴隨銅鈸、鏗鏘作響的鍋碗及垃圾桶的蓋子。然後，喧囂盛怒的薩克斯風捉了狂，和鼓聲一同奔馳 — 極力抗拒、無法停歇。 雖在節奏上彼此緊密同步，但感覺起來卻像是他們演奏於 — 蹣跚跌落的瞬間。

When it’s just the drums and the sax, angry beyond reason, there’s still a very tangible emptiness, a space within the sound. And when (Z)erpents want to fill that space, they do – with big fudgy slices of guitar. What the guitar has in common with the drums and the sax is an element of relentlessness, although this is expressed as long cloudy drones rather than furious action. It’s a threatening undertone like a dark cloud that refuses to break into unavoidable rain.

當只有鼓和憤怒的薩克斯風時，聲音中仍有些明顯的空間和留白，一層又一層、毛烈成片的吉他和弦便將整個空間填滿。吉他與鼓、薩克斯風一樣充滿混亂強烈的元素，但並不是憤怒的方式，而是以雷雲層般厚重的遠長延音，像是為即將襲來的暴雨所下的警示：你將無法避免。

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