Acidzen family live

by lawrence

LI Jianhong has posted on his blog some nice pictures of a “family live show” by Acidzen, the new hardware-improv duo consists of him and drummer HUANG Jin. The two also play as grindcore band D!O!D!O!D!

Here’s one of them, more can be viewed here.

There’s really not much to say about Acidzen - these pics say it all.




Bootleg of K. Matthews’ sound installation

by lawrence

Shanghai-based sound artist WANG Changcun has uploaded two recordings he made of Kaffe Matthews‘ installation for Sound and the City Shanghai.

# sound_and_the_city_sh01.mp3
# sound_and_the_city_sh02.mp3

Here’s Wang’s notes translated into English, originally published in Chinese on his blog.

The first segment was recorded in front of the “sound wall”. The so-called sound wall is nothing but simple playback system of the recordings submitted by winners in a CD player, which is installed in a movable wall with headsets, so that you can approach and listen. Note: the headsets are crappy, look like the discount ones you see in the electronic market.

The second segment gives you a general idea of what Matthews’ Sound Bed sounds like. Note: the traditional Chinese music in the segment is not a part of Matthews’ work, but the background music of the open ceremony. In comparison, the imported Sound Bed of Matthews in the ground floor is much classier than the made-in-China sound walls of winners’ recordings. Of course, Sound Bed is a sound installation piece, something you won’t be able to grasp by merely listening to. Therefore I took advantage of the moment before the crowd swarming to admire the imported bed and lay on it for a while, eyes closed. I should go to see doctor, there must be something wrong with me, since I failed to feel anything in a sound installation piece by such a famous Western artist.

1. The background music is indeed annoying as a distraction to listening to the piece, even with a headset. (You don’t expect that kind of headset to be soundproof.)

2. The title of the event, Dushi Fasheng (from the translator: literally means “Cities making sound”), is lame. It inaptly suggests something loud and disturbing. (Later it turned out that this suggestion wasn’t “inapt” at all.) Why do I think the title is lame? Because cities don’t make sound, it’s the citizens, animals or vegetation that do.

3. Also about the title. I think “Yangren Fasheng” (from the translator: literally means “westerners making sound”) would be more accurate, or what about “Britons in China”?

4. The process of the event is quite similar to that of a high school sport meeting.

“All sound art people has come”? No, it’s the contrary, because the protagonist of the event is not sound but “cultural exchange between China and Britain.”

No thanks, I adore western culture, but not to this extent.

Related:

# Wang Changcun’s entry at Chinese New Ear.
# Wang Changcun’s blog (in Chinese).
# Wang Changcun’s webart.
# Search Wang Changcun in GNO.
# Another review (and photos) of the same exhibition by Wang.
# Sound and the City Shanghai official site (English) - still under construction!!
# Sound and the City Shanghai official site (Chinese)
# GNO’s posts related to Sound and the City Guangzhou




10 (Marqido + Itta)’s China tour 2006.5

by lawrence

A concert in Guangzhou, as part of electronic duo 10’s China tour.

When: 20:00, May 5, 2006
Where: Windflower (389 Huanshi Dong Rd., 50-meter west of Holiday Inn)

Artists: 10 (Marqido + Itta), Bookystorie (Justin Zhong + LIN Zhiying + Thom Chin), Ikean (Justin Zhong + LIN Zhiying + Zafka)

Entrance: 30 yuan

The show is a spin-off of Mini MIDI II, the promising offsite event of the now mundane and boring annual MIDI Festival in Beijing (check out the schedule here). This year, Mini MIDI runs from May 1 - May 4 (that’s pretty long for this kind of festival, remember Sounding Beijing 2003?), and two of the participants - Japanese laptop maverick Marqido and Korean uber-instrumentalist Itta will take a trip down to Guangzhou and Shenzhen - their first public appearance in south China after a considerable amount of exposure in Hangzhou and Beijing.

Thanks to his distinguish stage presence as an “actionist” laptop performer, Marqido already has a cult following in China. 10 is the project launched by him and Itta of Korea, October 2004. Itta plays toy synthesizer, accordion, mouth-accordion, effect pedals and other obscure ethnical instruments. The duo plans to play in ten countries.

Both Bookystorie and Ikean are components of 21floor, the free form art collective based in Guangzhou. With the contribution of filmmaker/curator Thom Chin, Bookystorie will focus on multimedia performance while Ikean will be a sheer sound art trio.

Schedule for the rest of the tour:

May 02 @ Mini MIDI II, Beijing
May 02 @ Waterland Kwanyin #46, Beijing (free concert)
May 04 @ “The Fracture of Youth”, Chilango Bookstore 澄莲阁书吧, Shenzhen. (more info)
May 07 @ “NOIShanghai Anniversary”, Yu Yin Tang 育音堂, Shanghai. (more info)
May 10 @ Duolun MoMA, Shanghai.
May 12 @ Dashanzi International Art Festival 2006, Beijing. (more info)

Related info:

# 21floor’s entry at Chinese New Ear
# Marqido’s website
# LIN Zhiying’s entry at Chinese New Ear
# Justin Zhong’s entry at Chinese New Ear
# Zafka’s entry at Chinese New Ear




Wang Changcun reviews Kaffe Matthew

by Dajuin

The following is translated from the Chinese sound artist Wang Changcun’s review of Kaffe Matthew’s latest sound installation for the British Council project, “Sound and the City - Shanghai”. Wang’s blog “Spunky Seafood” is here. And, in case you’re wondering, he told me he did not leave anything out in this review. (All photos © copyright 2006 Wang Changcun)

After work I went to a Northeastern restaurant and had a large plate of pickled cabbage dumplings. No smashed garlic there, so I just took garlic cloves directly.

It was too hot today. I shouldn’t have put my sweater on.

At this point, there were three live human beings in the bed.

“Sound and the City” - Shanghai. This photo shows the “Sound Bed” by the British sound artist Kaffe Matthew. The bed is comfortable. As you can see from the photo, no need to worry about falling off even if you are rolling in it. The sides and the bottom of the bed are made of tweeter, mid-range, and woofer speakers; the low frequencies generate mostly from underneath, so when you lie there in the bed, you feel great with that vibration. However, the vibrations are low in amplitude, so you just feel it, and no more. This is a multi-channel work. Let me stress this: the mattress and fabrics used are quite high-class; you feel really comfy in it. And I can’t help saying this again: you don’t have to worry about rolling off the bed! With all that said, I must say it’s not without shortcomings - you can’t stay in this bed too long; it might be bad for your health.

Related:

# Sound and the City Shanghai official site (English) - still under construction!!
# Sound and the City Shanghai official site (Chinese)
# GNO’s posts related to Sound and the City Guangzhou




ADMIN: subscribe to GNO via Email

by lawrence

Although I love RSS Readers very much, there are quite a few who still have no idea what they are. So here you are: Email subscription of GNO! Scroll down to “subscription” in the sidebar, enter your Email address and click on “subscribe” button - done! From now on, whenever there’s an update to GNO, a copy will be sent to your mailbox automatically so that you don’t have to come back again and again. Yes, this will compromise my pageview, but so what? GNO doesn’t pay my bills anyway.




Links for April 19

by lawrence


SATC Shanghai (f. Kaffe Matthew) opening in two days

by lawrence

Hey, if it’s not for Arbyth (WANG Changcun) I would have missed this, two days to go!

(from Kaffe Matthew’s website annetteworks.com)

Friday 14th - 24th: Off to Shanghai to complete and install Sonic Bed_Shanghai, a commission from British Council, China, Sound and the City. OPENING the XUHUI Art Museum, 1413 Mid Huai Hai Rd, 2.30pm. Exhibtion continues through to 16th May, 2006. Opening hours 10am - 5pm. Call +86 21 6433 6516 for details.

She forgot to mention the opening date, it’s April 20.

GNO has run a story about this event on Feb 5, 2006.




Favre tour updated

by lawrence

I posted about Pierre Favre quintet’s Beijing concert a few days ago. Turned out that this will be a nationwide tour covering Shenyang, Beijing, Shanghai, Shenzhen and Guangzhou. Click here for the schedule. All the future updates will be appended to that post.




GNO Top 10 series - LI Jianhong

by lawrence

LI Jianhong is the founder of 2pi (pronounced “R Pee”), or Second Skin, an avant-rock band as well as record label in Hangzhou, China. He plays a crucial role in the Hangzhou/Shanghai experimental music scene, both as a guitar-noise maker and a sound artist. He was the lead guitarist of 2pi (the band) and one half of the grindcore duo D!O!D!O!D!, and has recently launched the hardware-noise group Acidzen with HUANG Jin.

Li’s entry at Chinese New Ear is here, his blog (Chinese) is here.

LI JIANHONG’s TOP TEN ALBUMS

# Jimi Hendrix - Axis: Bold as Love

# Zbigniew Karkowski - Intensifier

# Tetsuo Furudate + Zbigniew Karkowski - World as Will II

# Miles Davis - The Complete Bitches Brew Sessions （4 CDs）

# Sonic Youth - Sonic Death

# HAINO Keiji - Watashi-dake?

# GUAN Pinghu 管平湖 - Gu Qin

# Stockhausen - Helikopter Quartet (played by Arditti String Quartet)

# Napalm Death - Scum

# Ornette Coleman - Dancing in Your Head

# Helmut Lachenmann - “…zwei Gefühle…”，Musik mit Leonardo ; Notturno ; Interieur I

# Derek Bailey/Pat Metheny/Gregg Bendian/Paul Wertico - The Sign of Four (3 CDs)

# Philip Glass - Einstein on the Beach (4 CDs)

(GNO Top 10 series invites Chinese sound artists/experimental musicians to list music/albums that are either their personal favorites or have crucial influence on them as artists. By doing this, we try to present the Chinese aural art scene in the context of the global music ecology.)




Forget about computers, you ancient Chinese rockers.

by lawrence

BIGSOUND is a free (as in free lunch) magazine in Taiwan, there’s a Japanese special feature in the April issue, what struck me is the orange title at the top of the table of content:

It reads: “I’m more computer-savvy than CUI Jian” - an interview with Pan Gu.

Pshhh! Like who cares?!

(via shihlun/punctum)




Featured Writing: Magazine rocks under new name (The Standard, HK)

by lawrence

A story I wrote for The Standard, one of the two English language dailies in Hong Kong (the other one is South China Morning Post), about the fate of the Chinese edition of Rolling Stone magazine.

Go read it here.




“Apocalypse Guangzhou” - video screening

by lawrence


(Click to view better.)

Choreographer Frances d’Ath, video artist Emile Zile and Paul Emmanuel will have a screening of their video works, both new and old, at Park 19, Guangzhou next Sunday. All three are currently artist-in-residency at P19.

Apocalypse Guangzhou

When: 19:00, April 16, 2006
Where: Park 19, 8/F, Building #2, Nantai Baihuo Pifa Zhongxin, 168 Nantai Rd., Jiangnan Da Dao S., Haizhu district, Guangzhou.（海珠区江南大道南南泰路 168 号南泰百货批发中心二号楼八楼，Park 19 艺术空间）

Inquiry: +86 20 2228 5151, park19 at park19.com

# Frances maintains a quite famous blog called Supernaut.
# Emile’s website

Should be fun, especially when you have seen some pictures (1, 2) of the project called “Hell” by Frances.




Pierre Favre Jazz Quintet China tour ‘06

by lawrence

Improviser Pierre Favre’s Jazz quintet will have a China tour soon, the line-up of the band is: Pierre Favre (drum), Frank Kroll (sax), Philipp Schaufelberger (guitar), Christian Weber (bass) and YANG Jing 杨静 (pipa). Here’s the schedule:

# April 27: Shenyang
# April 29 (21:00): Wu Ming Gao Di bar 无名高地酒吧, Anhui Li, Yayun Cun, Beijing
# May 4: Theatre of Shanghai Shang Cheng, Shanghai
# May 5: Base Bar Nanshan, Shenzhen
# May 6: Tang (#1 Jianshe 6 Malu, Yuexiu district), Guangzhou

According to Chinese music critic and curator ZHANG Xiaozhou’s blog, there will be a jam session of the quintet with some “mysterious” “top-notch” Chinese musicians on the Beijing show.

Speaking of the poster, I don’t see why anybody would be thrilled at such a cliché title though. Come on, man, it’s two thousands and six, west meets east everyday!

This post will be updated as more details of the schedule come in.




A list of blogs by Chinese musicians

by lawrence

I should have posted it earlier, but better late than never.

Totemz, a very active blogger based in Guangzhou, has compiled a fairly comprehensive (the most, so far) list of blogs written by Chinese musicians/sound artists (I’m probably the only non-musician that got listed), go and read it here. Most of these blogs are in Chinese though, so is the list itself.




Japanese new music and China (part I)

by lawrence

The day before yesterday I promised to write something about the perception of Japanese new music in China. How did the “alternative” listeners in mainland China get to know names such as Keiji HAINO, Yoshihide OTOMO, Tatsuya YOSHIDA, Makoto KAWABATA, Taku SUGIMOTO, Asahito NANJO, Masami AKITA……? What channels are available for accessing their music? How do people perceive them as oppose to experimental music from the west?

These questions are crucial in understanding why the tour of Kawabata, Yoshida & Tsuyama was so successful. 80% of the CDs they brought to China were sold out at their first stop - Shanghai, critics and bloggers rave about it, local musicians were either overwhelmed or devastated. In comparison, Jazzkammer’s show here a couple of weeks ago was embarrassingly mundane.

Below are my personal account of the issue, you’re welcomed to share your own experience with other GNO readers, if you intend to do so, please email me at lawrence at chinesenewear.com or add comment to this post.

PRE-HISTORY

Let’s say the first contemporary non-classical, non-pop Japanese musician that performed in China is Yamatsuka Eye of Boredom. I do know that guitarist Kazumi WATANABE went to Beijing in the ’80s (just like Jean Michel Jarre did), but it’s hard to trace back that far. In fact, I’m not even sure the show has been documented in any format, officially or otherwise. But sure enough, many of the hardcore experimental freaks remember the legendary 1995 concert of Eye and John Zorn, organized by no other than Dickson Dee. I was a die-hard classical music fan back then and know absolutely nothing about avant-garde, so my knowledge of the concert are all second-handed. There isn’t much to say actually, you could probably guess the reaction. (”What the hell is this noise! Who the fuck are they doing on stage! How can you call such noise ‘music’!” And interestingly, something never changes.)

MCB & Sin:Ned

There is one Chinese magazine that plays the key role of introducing Japanese new music to mainland Chinese audience, and that’s Music Colony Bi-weekly from Hong Kong. For many years, MCB has served not only as the bible of Western music for listeners, but also an important editorial “source” which the music writers of mainland can’t live without. In those days before the commercialization of the Internet, the independent publication from our free-market, capitalist neighbour was invaluable.

MCB covers styles ranged from Brit Pop, alternative rock, hip-hop to more edgy stuff such as dark wave, industrial noise, gothic, prog rock and tiny bit of experimental. As in all the magazines, every contributor has his/her specialty. And the guy who’s responsible for all the edgy stuff is Sin:Ned.

I still don’t know Sin:Ned’s real Chinese name until now (the Romanized form is Wong Chung Fai though), someone has told me the pseudonym is actually “Dennis” - his English name - in reverse plus a colon (which adds some mysteriousness). Anyway, for a long time, he was my reason of reading MCB. He would write about Japanese psychedelic, noise, Illbient, Asphodel, Godspeed You Black Emperor!, David Sylvian, David Toop, Squarepusher, Japanese Prog Rock (Novela, Da Da, Ain Soph……), and much more.

Come to think of it, I have never been happy with Sin:Ned’s writing style, what I was interested in was the content. As a matter of fact, the style of his writing was a joke among a few friends of mine back then. Even as high school students, we more or less sensed that they are juvenile writings that pretend to be sophisticated. Whenever he mumbled about “alchemist”, “mysticism”, “imaginary nirvana” or “archetype”, I couldn’t help laughing. I’ve heard from somebody that he holds degree of psychology, but for me, those pseudo-academic discourse of his writings are no better than the pretentious sci-fi “theories” in some of the Japanese animes. (Don’t get me wrong, I’m an anime fan.)

I guess I must be the minority in this regard. Because Sin:Ned’s writing style has an unmistakable influence on a certain mainland music writers. An obvious case is Edging (XU Zhensheng) from Guangzhou. Converting his articles into Traditional Chinese and you won’t be able to tell the difference between them and Sin:Ned’s (and I’m sure he’ll take this as a compliment.) At the end of this post I’ve attached my translation of a blog post by Edging about MCB, in which Sin:Ned is mentioned.

However, this influence has been confined in south China, mostly because of the incompatibility of Cantonese and Mandarin, or to be more precise, of Hong Kong-styled Chinese and Mandarin. The Hong Kong-styled Chinese distinguishes itself by:

1). Having at least 20% English in it.
2). Using many pre-1949 words and phrases.
3). Using some Cantonese words and characters.

Ergo, since 99% of the prominent music writers in mainland China write in Mandarin, it’s hard for Sin:Ned’s writing style to have any nation-wide impact. However, his taste of music and personal touch permeate.

Back to my topic. Sometime around 1998 (please correct me if I’m wrong), MCB ran a series of stories written by Sin:Ned about Japanese new music. He wrote separate articles about Japanese psychedelic and noise, I remember there was one interview with Hideo Ikeezumi (owner of PSF and publisher of G-Modern magazine) in which he was more or less depicted as an Otaku (which he probably is). I have to admit those two or three articles do have a certain degree of charisma, and I’ve read them repeatedly a couple of times, longing for the Tokyo Flashback compilation series and one album in particular: Musica Transonic (Nanjo, Kawabata, Yoshida) + Haino Keiji: Incubation. And in the summer of 1998 - the year of my high school graduation - I went down to the famous Monitor Records in Hong Kong and spent HKD 180 for this 30-minute CD. The initial excitement at the mysterious psychedelic (or hypnotic?) spiral pattern on the cover and the greek letters on the back disappeared before long, when I put the CD into my discman (What is a discman? [Wikipedia]) and pressed play button. Up until today, after having listened to countless so-called experimental and avant-garde music CDs, Incubation still scores top ten on my hate list.

That must be the demystifying moment of Sin:Ned for me.

(to be continued)

APPENDIX

Those MCBs, those days

text: Edging (XU Zhensheng)
translated by Lawrence Li

Original Chinese version can be read here.

Have been thumbing through the stack of MCBs in my home because of some research works. Time flied, my once quite comprehensive collection (most of them are issues before they switched to smaller format) is now crippled, many have been lost somewhere in the past.

I would never forget the years of 1995 and 1996, when I was among the very first readers who have access to the magazine. Back then, the experience of browsing MCB was not unlike those of exploring a brand new universe, all those unknown names, the Hong Kong-styled articles which incorporate Cantonese syntax, they’re all fascinating for me. Although MCB has quite a tendency of Anglophile (even in the writing style), but the profound music knowledge of editor YUEN Chi-chung and other contributors had indeed served as an extremely important mentor for me.

When it became my habit to read MCB twice a month, it was also the mag’s peak period. I was already a selective reader by then: the new contributor Sin:Ned, important writer from the Monitor period Alan Chan, Lan (Blue), and of course editor YUEN Chi-chung’s articles always consume my interest before others. Those who focused on Brit Pop such as Indian May didn’t emerge on my horizon until many years later.

There were a lot of articles and features which had left a strong impression on me, especially worth mentioning is Sin:Ned’s first essay titled Tropic of Capricorn, which infuses something heavy into your heart at every reading, lingering for a long time. As for music knowledge, the series of features about Krautrock was one of my favourites. Of course, I can never forget the pride I felt when finding out I own every single album of the most nerve-challenging names listed in the recommendation of one Halloween feature - my painstaking effort of collecting Industrial Noise and “dark” music records was rewarding indeed. (Please bear in mind that Internet did not exist in those years, not to mention BT or eMule.)

However, since the popularization of the Internet, I began to have more and more channels for music information, and my personal taste has drifted ever since, which resulted in a devaluation of MCB in my heart - after all, it’s a very “Anglo” magazine. Although I had maintained the habit of buying MCB, but my interest had faded. All I did was flipping through it briefly and hunting for articles about the music which are up my ally. More often, my copies of MCB served as the reading material for my newbie music writers friends.

With the shrinking of amount of articles by Sin:Ned et al., my interest faded even more. And then there was the change of layout and format of MCB, the friend who used to buy it for me had quitted his job as the mainland distributor. My access was cut off eventually, and I had to stop buying.

During that time, I also had a chance to get to know Yuen Chi-chung and his staff. I had never imagined I could in those days make the acquaintance of these people I once admired, ever connect with them for various reasons.

The night before last, when I was reading MCB sitting still, it’s not so much for my research but to reminisce about the old days and passengers in my life journey - “Shifu” at Zhong Liu Zhi Shang, Dick and Ah Juan, and of course, Yensn and his dear wife. Hope everything is well with you!

Still remember about one year ago, on the night that Ladytron played in Shenzhen, I bumped into Yuen Chi-chung at the corner of a stair in the pub, who was a bit aged, unknowingly - that’s how we have walked through some of the years, and then, at a certain corner of life, glanced at each other like we are acquaintance, and kept marching on respectively.

Related:

# Sin:Ned’s website, where many of his MCB period writings can be read for free (in Chinese).
# Sin:Ned’s blog
# MCB’s website




Random thoughts about the J-Psyche concert in Guangzhou last night

by lawrence

What is there left to say about Kawabata/Yoshida/Tsuyama’s Guangzhou concert last night, after YAN Jun’s detailed description of the Beijing one (which I have translated into English and posted here)? This was a carefully planned, precisely executed performance by three seasoned musicians, which was inevitably predictable, but not the least boring because of it.

Yan’s account of the concert is obviously emotionally-charged, which is indeed a pleasure to read and functions as great box office boost for the rest of the tour. What I’m going to do here is to provide my own random thoughts and reflections of the concert, and later I’ll talk a bit about the perception of Japanese new music in mainland China. If you are looking for a text to read in order to decide whether you want to spend 60 - 80 yuan on the show, please go and read Yan’s review.

1. The a cappella of Zubi Zuva X was a drag. I really wish they had dropped it and extended the Acid Mothers Temple section, which seemed too short for everybody. I know “seven projects by three musicians” is the tagline of the press kit, but what about six projects? It won’t compromise anything.

I don’t think too much (if any) people were reminded of a piece called “So You Want to Write a Fugue?” composed by Glenn Gould during the Zubi Zuva X section, except me. Indeed, I’m the type of person who is obsessed with making weird comparison between drastically different genres of music. On a lecture six years ago in a University in Guangzhou, I played Jean Michel Jarre’s Ethnicolor (first track of Zoolook) together with F. Chopin’s Etude Op. 25, No. 12, and King Crimson’s In the Court of the Crimson King with Novela’s (the Japanese hard rock/art rock band) La Songerie (last track of their debut album Miwaku-geki 魅惑剧. As for the case here, musically the two can’t be further away: Gould’s piece is totally logical and was written in the classical style of Fugue, while Zubi Zuva X was just half-jokingly pretending to be contrapuntal with their a cappella. It must be the wack lyrics and the equally wack aura of the music that caused the association. Anyway, I’ve uploaded Gould’s piece to our server so you can have a listen. For those who didn’t and can’t make it to any of the Zubi Zuva X concert, please wait for a few days for the bootleg recording of it.

2. Japanese artists are well known for incorporating Japanese-ness into their works without actually using any Japanese instrument. Toru TAKEMITSU and Ryuichi SAKAMOTO comes to mind, and there are much more. Was there anything Japanese about the concert last night? You probably have your own answer by I’ll say it was the heavy dose of gimmick. The hilarious “horse-head fiddle” composed of a guitar with a horse-head toy on its neck, the deliberately Jinglish and gibberish announcement between each section (reminded me of the “gumbies” in Monty Python’s Flying Circus), and of course the “contact-mic-to-everything” Akaten, which made sound using zippers on their trousers, camera, wine……It might not be farfetched to connect it with the slapstick TV programs in Japan (remember the scene in Lost in Translation in which Bill Murray was treated with it?). In fact, many famous Japanese musicians have been guests on those shows, some of the examples can be found on YouTube. If there is anything that one can learn from those gimmicks, it would be the fact that, instead of those pseudo-spiritual identities imposed by music critics (”alchemist” & “sorcerer” are the most frequent ones), these musicians are entertainers more than anything else. And very accomplished ones.

3. Reference/parody is always delightful, apart from “Deep Purple in the style of Captain Beefheart” and “Mongolian-styled Led Zeppelin” of Zoffy, we also heard Für Elise, Bolero and probably Tarkus (Emerson, Lake & Palmer) during Yoshida’s solo set (drum with pre-recorded stuff). I’m not sure about Tarkus though.

4. The Acid Mothers Temple section was indeed way too short. I was expecting 40 minutes at least. And the sound engineer apparently has no idea of what the “acid” in the group’s name means, the psychedelic spacy drone from Kawabata’s guitar was overwhelmed by the other two instruments. Too bad. The strength of AMT has always been about speed, acid and energy. Last night there were a slightly-more-than-medium energy, masked acid……and not much speed really. They could do a lot better.

Okay I think that’s it, it’s 4:00 am now, so, つづく, to be continued, 待续……tomorrow there will be more.

Oh, people have all been saying that this is the best show they’ve seen in the past several years. I would say it’s the second best one for me, and the best one is, shamelessly, Sounding Guangzhou 2004. ^_^




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