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 sixth interview in this series, and the last for a while. It’s a real pleasure and an honour to be able to publish this interview with Li Jianhong and Wei Wei, the couple who in their various ways have been central figures in the experimental music scene in China for many years. Originally from Hangzhou, Li and Wei Wei were both involved in the music scenes in that city before coming to Beijing around 2011. Since then they have been highly visible with their solo projects as well as performing together under the names Mind Fibre and Vagus Nerve. This interview concentrates on their early musical development, the 2pi Festival that Li founded in Hangzhou in 2003, and their thoughts about improvisation and the state of the experimental music scene in Beijing.
It’s midnight, Beijing-time, and in the darkened living room of a small apartment near the city’s second ring road, two figures quietly attend to their bank of equipment. The performers, Taurin Barrera and gogoj, appear not entirely there, in a world of their own, working away in an environment with few sounds filling the room aside from the rustles of their movements. Projected on the wall beside them are gogoj’s wave form lightening strikes, reacting to some unheard input, building from simple shaped waves through to complex smears and many-dimensional structures as the feeds become ever more complex. The silence in the room contrasts starkly with the sounds and visuals each performer is producing within the walls of the equipment and immediately dispersed away online to a small audience which has gathered from around the world to experience False SIP, Shan Studio’s first Gigonline.