Sound Transmission from Japan to China in the Early 2000s

Yan Jun in conversation with Edward Sanderson, at Nooo Kitty, Osaka

Yan Jun has been involved in the music scene in China since the early ’90s, originally as a poet and a journalist, as well as organizing gigs and events for experimental music and sound. He began organizing these in his hometown of Lanzhou, and later moved to Beijing. He runs Sub Jam, a very important record label in China, releasing all sorts of works by Chinese and international sound artists and musicians. In terms of sound and experimental music in China, Yan is one of the central people. And not just in China, but also internationally: for many years he has been making links between China and the rest of the world. In October he was in Japan with the group he performs with, FEN, which is himself, Yuen Cheewai from Singapore, Ryu Hankil from Korea, and Otomo Yoshihide from Japan. The following interview with Yan Jun took place after a performance by Yan and Tim Olive at the Nooo Kitty space in Osaka on the 17th of October.

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Critical Music 4: Interview with Zafka (Zhang Anding) (part 2)

Welcome to the second, and final, part of this interview with Zafka (Zhang Anding). Here he discusses China Youthology, the brand consultancy he co-founded, as well as his involvement in Yao Dajuin’s Revolutions Per Minute exhibition of sound art in China, working with the rapper J-Fever, and his recent performance with Sheng Jie for the Pixel Echo series of concerts. Finally Zafka discusses his thoughts on the political significance of sound and the current state of experimental sound in China.

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Critical Music 4: Interview with Zafka (Zhang Anding) (part 1)

Critical Music series: This series of posts focuses on individuals, groups, or organisations that have played notable roles in the history of critical music practices in China. These practices appear in many different guises, often related to concepts such as “experimental music” or “sound art”, although neither term is entirely satisfactory in describing the practices which often exist in many hybrid forms. My adoption of the term “critical music” (following the writings of G Douglas Barrett) attempts to avoid the limitations of these terms, while highlighting the active nature of the sound component of the practices. These posts will primarily take the form of interviews, each one aiming to place the subject within the general history of critical music practices in China, and contextualise their current practice within their overall development.

Welcome to the fourth interview in this series. Today I am honoured to be able to publish the first part of an interview with Zafka (Zhang Anding), an experimental musician, sound artist, and founder of the brand consultancy, China Youthology. Zafka’s story takes us from the early practices of experimental music and sound art in China in the late ’90s, his first bands through to his investigations of field recording to tap the political power of sound, and his more recent work on sound in relation to social media and online platforms. Over the years Zafka has been involved in many of the important festivals and exhibitions related to sound art held in China, including Revolutions per Minute, Get it Louder, Mini Midi, and Pixel Echo, and in this interview provides a critical perspective on a wide range of aspects of the development of sound practices there.

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Critical Music 2: Interview with Colin Siyuan Chinnery (part 2)

Welcome to part two of the second interview in this series on critical music, talking with Colin Siyuan Chinnery. Part one can be found here. This final part will cover Colin’s more recent activities in relation to sound: his involvement with the Shijia Hutong Museum and the development of the Sound Museum, an entity investigating and exploiting the full potential of sound.

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Critical Music 2: Interview with Colin Siyuan Chinnery (part 1)

Critical Music series: This series of posts focuses on individuals, groups, or organisations that have played notable roles in the history of critical music practices in China. These practices appear in many different guises, often related to concepts such as “experimental music” or “sound art”, although neither term is entirely satisfactory in describing the practices which often exist in many hybrid forms. My adoption of the term “critical music” (following the writings of G Douglas Barrett) attempts to avoid the limitations of these terms, while highlighting the active nature of the sound component of the practices. These posts will primarily take the form of interviews, each one aiming to place the subject within the general history of critical music practices in China, and contextualise their current practice within their overall development.

Welcome to the second interview in this series. Today I am honoured to publish the first part of an interview with Colin Siyuan Chinnery, the Beijing-based artist, curator, musician, and writer. In the early ’90s Colin and his band Xue Wei were part of the evolving music scene in Beijing, as artists pushed up against the boundaries of the then dominant rock ‘n’ roll. His interest in experimental music later led to his initiating the influential Sound and the City project with the British Council, which saw four experimental musicians travelling from the UK to Beijing to create sound projects there. The second part of this interview (to follow) will cover his more recent activities: his involvement with the Shijia Hutong Museum and the development of the Sound Museum, an entity investigating and exploiting the wider potential of sound.

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