Hello, my friends. Right now I'm in Kyiv, the capital of Ukraine. As you know, last night Russia officially declared war on Ukraine and started full-scale invasion of our territory, our home.

I'm releasing a track that was supposed to be included in the forthcoming LP and attaching a link for donations to Ukrainian Army. Even small donate could hold the Russian aggression against my country.

DONATE

Right Now (Donate Against Russian Agression)

Two live recording clips of Baishui's project Sound in Motion with Percussion Chen Ran at Real Live, Xiamen, Fujian. 

Baishui - Flutes, Bells, Electronics
Chen Ran - Drums, Percussion

Withered Cicada (Live at Real Live, Xiamen)

主题：日韩新即兴和最近遇到的人；主持：颜峻；2010年3月；北京
topic: new impro music and recent encounter; hosted by: Yan Jun; march 2010; beijing

A01, Joe Foster, Hong Chulki, Takahiro Kawaguchi, Ryu Hankil; Oscillation (16:22); album: Oscillation, Vacillation; label: Balloon & Needle (www.balloonnneedle.com)
A02, Paul Abbott, Daichi Yoshikawa; Broken Tree part one (4:28 excerpt); album: Broken Tree; label: Authorised Version AV035 (www.a-version.co.uk)
A03, Isohata Shin'ichi; Isohata Solo #2 (6:00); album: Guitar Duo x Solo; label: Grid605 (d.hatena.ne.jp/grid605/)
A04, Otomo Yoshihide; Otomo Solo #2 / Ms. T (4:50); album: Guitar Duo x Solo; label: Grid605 (d.hatena.ne.jp/grid605/)
A05, Otomo Yoshihide + Kanno Knehikusho; track 3 (10:37); album: Hands; label: Gallery Terra
A06, Matthias Kispert; track 2 (12:17); album: Smallest Part; label: unreleased (www.matthiaskispert.com)

RELAY：2005 – 2008
文：Hong Chulki 洪铁基；翻译：高源
RELAY是自2005年春天至2008年冬天在韩国首尔举办的一系列自由即兴现场。
实际上，直到开始举办RELAY的前几年，我们才有机会去认真思考即兴创作在我们的音乐活动中意味着什么。在以前，“自由即兴”、“自由音乐”或“电子原音即兴”都不是我们的常用词汇（当然，Joe Foster例外）。当我们这些年来玩噪音或电子音乐时，或许已经跟“它”打着交道，只是我们自己并没有完全意识到这一点罢了。
然而在RELAY之前，我们就已初次涉足「自由即兴」，那是在二零零三年由Joe Foster、Alfred Harth、Sato Yukie（他们在Kang Taewhan的现场演出中相识）和Lee Hanjoo发起的名为“Bulgasari”的一系列自由音乐现场中（其后主要由Sato组织）。我和Choi Joonyong去参加Ruins在首尔的初次演出，在那儿遇见了Sato。然后我们听说了Bulgasari，且很快就加入Bulgasari并成为定期出演的即兴音乐家。我们的朋友Ryu Hankil在听完大友良英(Otomo Yoshihide)、松原幸子(Sachiko M)、Axel Dörner和宇波拓(Taku Unami)零五年初在Bulgasari的现场演出后也立刻加入我们。从那时起，电子原音即兴就是我们音乐/非音乐事业的主要推动力。从日式噪音先锋到蒙古传统器乐家，从使用“非常规”的即兴手法并完全知道自己在做什么的人，到用最传统和”“常规””的方式演奏他们的乐器的人，无论是谁参与到Bulgasari中，其集体即兴的体验都是无比强烈的。没有别的活动能让我们更深地认识到既定的音乐语言之外聆听和演奏间的关系。 因此我们决定举行自己的自由即兴集会
Hankil向我们介绍了Jin Sangtae和Bonnie Jones，前者用无线电、硬盘和日光灯创作音乐，后者是English的成员，住在首尔，从那时起他们就不时跟我们合作。第一场RELAY集会是在二零零五年的三月十八号。我们当时有两件事要做：从美学角度说，我们想要每月举行一次即兴现场，且更专注于以非音乐性的声音/噪音来创作音乐（我依然称其为音乐），甚至与某些听觉外的、视觉性的东西互动；考虑到我们的艺术生命，RELAY的主要目标是在国内/国外的即兴音乐家与实验音乐家之间建立持续性的网络。我们认为这样的相互联系不光有助于在首尔建立起一个圈子，且对最终维持我们自己的活动是极关键的。Hankil为申请政府拨款的所做的努力就是出于此目的。他在二零零六年拿到了拨款，所以我们能够邀请韩国以外的音乐家了（但涉及到韩国政府的文化政策，情况现在有所变化）。大友在建立东亚实验音乐家网络方面的努力（尤其是二零零五年九月和二零零八年十月在东京举行的“亚洲集会音乐节”，我们大部分人都参加了）也是巨大的激励。［1］
二零零五年是RELAY的第一个年头，我们的常客有Choi Soowhan（及Do Soonju；黄色厨房）和Bea Miryung，他们主要以笔记本电脑创作学院派式的实验音乐，还有像Kim Taeeun，Shin Jeongyup和Choi Jeongho这样的数位视觉专家。Alfred Harth参加RELAY也在这段时间。那年我们中一些人还有机会跟Sam Stephen和Andrew Garten合作。如前所述，从二零零六年起，RELAY一直由政府资助。因此在零六年我们能请到Signal to Noise 四重奏（Jason Khan, Tomas Korber, Norbert Möslang和Gu:nter Mu:ller），Filament（松原幸子与大友良英），Doravideo（一乐仪光（Ichiraku Yoshimitsu）），Dave Philips，Mattin和宇波拓参加RELAY演出。有几场演出的录音也已由某些厂牌发行。［2］我们还有居住在首尔的音乐家和视觉艺术家，他们从上一年开始就是常客。Sato Yukie时不时露面，而实验电影人Lee Hangjun也加入我们。除此之外，Kim Youngeun，Park Changhyun，Min Eunji，Yunsabi，Jeong Eunju，Jeong Jaejin和Choi Hyeryun都参加过零六年的RELAY演出。
二零零七年至二零零八年的一些最佳演出片段已辑录在这套双碟中，其中包括有Opera Southern Cross（Toshimaru Nakamura，杉本拓（Taku Sugimoto），Iida Katsuaki和宇波拓），English（Joe Foster和Bonnie Jones），Bryan Eubanks，Choi Sunbae，LÄUSE（eRikm，dieb13和Billy Roisz），Zbigniew Karkowski，野尻敦子(Nojiri Atsuko)，Los Glissandinos（Klaus Filip和Kai Fagaschinski），Noid，Ilios和Mats Gustafsson。另外在二零零七年初，化名为“the Flicker Begins”的一位年轻噪音音乐家Park Seungjun加入了RELAY并成为固定合作者。
现在是时候为RELAY这四年下一个结论了，虽然我们在音乐和艺术上的实验永不止步。在过去的四年里种种可能性和限制（或说需要解决的问题）同时存在。在所有的可能性中，首要的是关于我们自己的音乐即兴实践。我认为使我们走向自由即兴的，是对不预设任何音乐目的的“如是的声音”的兴趣。当然，这全然并非倾向于原始的、自然的声音，甚至可说是相反。当我们决定使用廉价的二手电子器材和装置如CD播放器，硬盘，时钟机构，音箱头，吉他拾音器和延时效果踏板的电路板时，便已经舍弃了高端重现极致保真声响的态度或传统意义上的音乐演奏。（采样音乐可以是另一选择。但在这类音乐中这些器材成为声音源而采样器/序列器（或笔记本电脑）成为乐器。）对我们来说，自由即兴是一种发现/发明专属于“非乐器性”乐器的新的音乐语言的（不）确定的方式。即兴式合作是我们感受过的其余可能性的主要部分。以我之见，集体即兴是（至少潜在地是）音乐交流的绝佳场域（某种意义上说甚至是艺术教育），同时也是完整的艺术作品。这种完整性或许意味着一种复杂性，这种复杂性不受最初的唱片欣赏约束（如同这里的这些唱片）。然而，这些唱片里体现的完整性和前面说的完整性不也是一样的吗，不也是非即兴录音所欠缺的完整性么？正是它在消除附带和指涉性联想的同时，给予聆听者更多的空间、不确定性、甚至权力来诠释和确定一系列音色和间歇的组合。这岂非又一声响欢愉的源泉？
那么我们无法跨越的限制是什么？首先是政府资助。这既是机会，也是约束。只有在RELAY的申请表被接受之后，我们才有可能邀请海外音乐家和组织演出。然而音乐圈中的某种“非学院即流行”的“分类政治”让Hankil不得不以“媒体艺术”或“声音艺术”的名义去申请（特别是从零七年开始）。从文化政策制定者到独立音乐家同行，在他们眼里我们似乎不存在于音乐圈之内。在我看来，他们用以区分音乐与非音乐，艺术与非艺术，或学院派音乐与流行音乐的观念过于根深蒂固，以致于像RELAY这样的活动很难得到他们的认同。虽然我们感兴趣的是即兴演作声音和噪音的快乐，而非对这种假想的分类边界的质问，但从来自国内对我们的唱片评论到替演出租场地，在许多情况下我们不得不面对这种排他性。用Hankil的话说：“我们甚至独立于独立音乐圈之外。”这不仅仅是叫屈和抱怨。不光是对大环境的要求，连我们自己的作为或许都有些操之过急。在本地层面上尚未出现圈子形成或发展的迹象。没什么听众，新成员也寥寥无几。虽然如此，我们中的一些人仍在继续办即兴集会：“Dotolim”是Jin Sangtae的办公场所，同时也是举办两个月一次的实验音乐集会的绝佳小型演奏厅，另外还有Balloon and Needle举办的“Sound of Confusion”。我们都在为RELAY这些年来带给我们的诸多问题寻找解决方案。比如说，当有外国音乐家参加本土演出时，收取入场费依然是违法的。
从某种意义上说，形势已明显变糟。尤其在这自由主义本身已全球性衰退的时代，韩国政府的新自由主义（甚至还有新保守主义）路线已极大地体现在它的文化政策中，并对我们这些从事小型活动的人造成影响。期望由政府来支持整个文化领域是不切实际的。但假使政府借着自由市场的名义，从竞争性和盈利性的角度出发，只资助那些有规模、有人气且受到广泛认可的组织（甚或是在意识形态上忠于政府的组织），这也同样是荒唐的。我确信这一系列政策最终不会有成效，但目前来说这是现实的一部分。尽管如此，我们仍应继续实验。John Cage曾在一段他的著名文章中说过，实验行为就是那种其结果无法预料的行为。我不认为他的这一见解指的是那种不在我认知范围之内的结果。确切地说，实验行为更应该被理解为人为的，其结果是可以被直接观测的。正因为它既不可重复也非偶然，我们才应该实践并亲身感受它。对我们来说，与他人一起即兴，一起筹备每场演出，以及建立延伸至首尔以外的音乐网络，这些都构成了我们自身的实验性实践。我们所有RELAY的音乐家感谢每一位在过去四年里参与过、出席过并支持过我们称之为RELAY的实验过程的人。
（1）二零零五年首届Asian Meeting Festival的一些现场录音已收录在大友良英的New Jazz Orchestra – Live vol.2 Parallel Circuit唱片中（doublemusic, 2007）。 
Ryu hankil 一九七五年出生于韩国首尔。Hankil曾在两支韩国著名独立流行乐团中担任键盘手，但因厌倦了传统的音乐声响创作而最终离开了乐团。之后他创立了自己的单人电子流行团Daytripper，属于韩国电音舞曲(Electronica)的第一代，并推出过两张专辑。创作电音舞曲的经历使他转而追求一些不一样的东西。他现在热衷于寻找另一种基于“废弃物件”及它们的震荡效应的音乐结构。Hankil自零五年起开始组织RELAY。他成立了专属的出版社Manual，出版即兴音乐和杂志。他目前是大友良英的新计划“FEN”的一员。 
Hong Chulki 来自韩国首尔的Hong Chulki自九六年起便是韩国首只噪音乐团Astronoise的创始者和成员（与Choi Joonyong一起）。身为噪音即兴音乐家，他主要通过反馈、将通过音频设备如唱盘、MD播放器和笔记本电脑的声音信号放大、以及其他方式演奏。二零零七年他发表了两张唱盘（无唱片）独奏专辑，分别是“5 Modules 2: Surface and Feedback”(Manual, Korea)和“Without Cartridge/With Cartridge”（Balloon and Needle）。他以实验电影声音设计师/作曲家的身份参与过几项计划，包括一张与韩国实验电影人Lee Hangjun合作的DVD“Expanded Celluloid, Extended Phonograph”（Balloon and Needle）。
Jin Sangtae 一九七五年出生于首尔。他于九九年开始创作音乐，成立了电音计划“Popmusic25”并参加了数次现场演出。当他在零四年接触到即兴音乐后，便转变了音乐方向。他用调幅收音机、笔记本电脑和硬盘制成自己的乐器，并专注于即兴音乐和相关的声音作品。Jin Sangtae定期参演RELAY和Bulgasari。二零零八年他启用了一名为“Dotolim”的小型空间，是韩国第一个专门演出电子原音即兴的场地。他组织过隔月一次的“Dotolim系列现场”。二零零八年九月他发表了以电脑硬盘为素材创作的个人专辑“Extensity of Hard Disk Drive”，由Balloon and Needle发行。
Choi Joonyong Choi Joonyong在九六年与Hong Chulki创建了Astronoise并一直演奏噪音和即兴音乐。他藉由CD播放器、盘式磁带播放器、扬声器和MP3播放器的误操作或反馈来创作声音。他曾与许多艺术家一起演出，并发表过三张以CD播放器为素材的独奏专辑。他也是六人噪音乐团“Master Musik”的成员。他经营着音乐厂牌Balloon and Needle，并于Hong Chulki联手策划了名为“Sound of Confusion”的系列演出。
Joe Foster （一九七二年生于加州）于九十年代末在俄勒冈的波特兰开始音乐生涯，并在美国广泛巡演。他于二零零二年移居首尔，并于RELAY成立伊始加入。他从周围的人身上获得大量灵感，且相信个人交际和性格能为音乐上的关联性和音乐成果注入活力。除了RELAY的参演者，他主要的演奏搭档有Bonnie Jones，Bryan Eubanks和Kevin Parks。他打算一直演奏到死。
Park Seungjun 他于一九八六年出生并生活在仁川。少年时开始玩音乐，曾是某时代错误的朋克乐队成员。后来厌倦并离开了乐队。那段时间他看了Astronoise的现场演出，深受震撼，并促使他开始创作噪音。二零零五年他开始在RELAY和Bulgasari这样的演出中与Choi Joonyong、Hong Chulki、Ryu Hankil和Jin Sangtae一起演奏噪音。他使用弹簧残响效果器、功放、台灯、播放设备和麦克风制造痉挛性的反馈。他和Gae Ddolddol组成双人团Lobotomy，且是暴力噪音(harsh noise)乐团Master Musik的成员（此团由他的计划“Flicker Begins”发展而来）。身为“Never Right”系列演出的组织者，他也非常活跃。该系列演出包罗从流行乐到噪音的各类乐种。他与Jin Sangtae的二重奏唱片“5 Modules IV”于零七年由Manual发行。与Choi Joonyong合作的新专辑将由Balllon and Needle发行。 
（本文收录于 RELAY ARCHIVE 2007-2008 双CD 的小册子。由英文版译出。http://www.themanual.co.kr）

Old Radio Enemy 002a

Recorded by the Ahja River in South Estonia. Late evening about an hour after the sun went down, there are just a few species still active. Mostly the valley chorus is filled with the resonant sound of Cuckoo birds. Some frogs, fish, ducks and other birds make their presence known. This is not that far from a populated area so some dogs and traffic can be heard in the distance.

Tech: 2x Audio-Technica AT4021 cardioids in ORTF to SD MixPre to Edirol R-09

river's edge at dusk, May 14th 10pm

2019-5-6
Walking through Tao Yuan Tunnel in Xinmi, Henan province, China.
one kilometer long and totally dark tunnel, the space is more and more narrower, our heads hit rock quite often.

Walking Through Tao Yuan Tunnel 穿越桃源隧道

This year London has experienced several weekends of the hottest summer and that moved the Australian sound artist Kate Carr, whose practice is centred on articulating the relationship between people and place through sound, to point her microphone at the city. This volume is based on her recordings during a particularly hot long weekend in a corner of very busy intersection in London, where she resides now. In Heatwave, Carr is interested in both the serious and also the more prosaic aspects of soundscapes related to climate change. She investigated the throbbing summer music from her neighborhood, people’s efforts to keep cool, and the uneasiness which accompanies these everyday activities in this moment of environmental crisis. The way these pieces construct and compensate, with all the tangible sounds that fold into larger moods via multiple instruments, exemplifies her acumen in creating sonic stories that reflect our multi-layered experience of reality.

Humidity - from Heatwave out now via Hasana Editions

有个小村庄
不情愿地过去
再就回不来

再在就不回来

This piece is about a village named Nuohei that nexts to the Stone Forest of Yunnan .I stayed there for a month to be with 40 students for their landscape oil painting lessons in 2011. The sound of  sheep bell, tractor, sani language talking, airplane in the sky, insects, chicks, dogs, TV and diner noise in this music  were all recorded from Nuohei.


This music is like a diary for me to remember  hospitable locals and beautiful landscape, the melody in the piece expresses the frame of mind while I stayed there, calm and wordless. 


32 days in Guishan

Since midday on Tuesday 17th March 2020 France has been in lockdown in an effort to slow down the spread of COVID-19. The entire population must remain at home, with residents risking being fined for leaving their homes for reasons not deemed essential.

Since the beginning of this quarantine, residents in Paris have been going out onto their balconies and front doors each evening at 8pm to applaud and cheer to pay respect to doctors, nurses and all those working in the health service helping to save lives every day. This recording captures the soundscape from my balcony, in the heart of central Paris.

Sony PCM A10 + 2 x LOM MikroUsi
Recorded 19.03.20

Coronavirus 20h Applause For Health Workers - Paris, France

Starting to work with different layers from my bicycle recordings. This sketch includes recordings where contact mics are attached to the bicycle while riding, and ones where it is stationary and 'played' as an instrument.

Bike Sketch - Kate Carr

Cycling is enjoying a surge in popularity in these pandemic days, and this collaboration examines some of the linkages and soundscapes this boom has entailed. It stems from an online residency hosted by Iklectik in London and Lacking Sound festival in Taipei, which brought together UK and Taiwanese artists to explore quarantine in May of 2020. With Taiwan one of the world's major producers of bikes, and Londoners forced onto waiting lists to purchase one Kate Carr and Sheryl Cheung decided to examine their respective cities of London, and Taipei through the prism of the bicycle. This piece explores the bicycle as a musical instrument, as well as an object which can somehow speak to this particular moment with the pandemic. It offers a glimpse of our real and imagined cycling soundscapes as we are plunged into, and attempt to escape the 'new normal'.

Cycling (excerpt) - Kate Carr + Sheryl Cheung out Sept 3

"I've been working on material recorded at the former UK Ministry of Defence site Orford Ness on the East England Suffolk coast. 
Since the Ministry of Defence left in 1993, the buildings have been overrun by nature.

The excitement felt by Bletchley Park's wartime code breakers was echoed here too: Britain's greatest scientific brains, along with 400 civilians and thousands of unacknowledged Chinese migrant workers all worked on developing the UK’s first nuclear weapon.

Today the place gives us a sense of what a post-apocalyptic environment might look and sound like. Air ducts once now burst open with the packed nests of roosting birds. There are seagulls 'playing' the atomic weapons laboratories with their cries; baby jackdaws duetting with gravel footsteps; metal stairwells transformed into aeolian harps. " Iain Chambers, Orford Ness.
-------------------------
About Iain:
Iain Chambers is a composer and producer whose music often deploys field recordings and location sounds as musical material.

Iain's work is heard live in concerts, radio, sound installations and multimedia. His feature-length symphonies of industrial sounds have been commissioned by BBC Radio 3, WDR Cologne and ABC Australia.

In 2019 Iain launched the independent record label Persistence of Sound, presenting new musique concrète and field recordings.

Iain is a founder member of Langham Research Centre, an electronic music ensemble using obsolete Cold War era technology to create new music. The group also create new realisations of 20th century electronic works by composers John Cage, Alvin Lucier and Christian Wolff using an unusual instrumentarium: analogue tape, sine-wave oscillators, analogue radios and phonograph cartridges. LRC perform internationally, and released “Tape Works (Vol. 1)” on the Nonclassical label in 2017.

All tracks by Iain Chambers
Mastered by Nima Aghiani
Photography: Ian Rawes
Design: Kate Carr

Secrets of Orford Ness (excerpt) - Iain Chambers out October 27

an artist, curator based in Kunming China.
this page shows some of his field recordings.

Walking Through Tao Yuan Tunnel 穿越桃源隧道

Luo Fei

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