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Chunyang Yao 姚春旸 // Post-Oblivion 泯默集 TAPE

Chunyang Yao 姚春旸 // Post-Oblivion 泯默集 TAPE

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China·Lijiang-born Naxi experimental musician Chunyang Yao released a limited edition of 2023 cassettes in March 3 from Dusty Ballz, a Chinese underground music label based in London, England.

Contains 6 songs from free jazz to drone. Comes with DL code. 

Below is a commentary by the label.

In September 2019, during a residency exchange program curated by the Lijiang Studio, Chunju Yao set foot in Shiraoi, Hokkaido, a town historically inhabited by Japan's indigenous Ainu people.At that moment, she had a strange feeling of reversal.A Naxi artist born in the southwestern city of Lijiang, Yao was accustomed to performing under a certain exotic gaze in China.However, when she stepped into the esoteric world of Ainu life, she realized for the first time that she was a mysterious spectator of other races, and in it she saw the shadow of her own race with her deep ambiguity. Became.This entwined moment slowly reverberates and translates into a delicate resonance between two minority traditions struggling for their right to be remembered on the fringes of modernity.If memories are audible, does forgetting make noise?This question isIt was the driving force behind the production of Post-Oblivion.

Post-Oblivion, unlike what you might expect from its title, demands emotion from the listener.Side A of the cassette tape contains a five-movement composition based on field recordings Yao collected during his stay in Hokkaido, while Side B is a lengthy improvisation with voice, noise samples and synthesizers. A performance is recorded.Two facets of Yao's unique artistic flair, both as a composer and as a vocal and electronic improviser.As a contemporary artist, as her mother, as a descendant of the Naxi tribe, and as a traveler in a foreign land, her identities overlap, and her complex sonic landscape unfolds.

The Ainu and Naxi share a pantheistic view of nature, and religion and culture are embedded within their environment.In the Naxi Dongba script, four glyphs are required to say "no sound": a lead stone, a pair of horns, a chipped moon, and a quark.Similarly, rather than recording directly with the Ainu community, Yao gathered musical cues from the natural soundscapes of Hokkaido.Wind blowing over the seaside town of Tomakomai, fierce geysers, the cries of seagulls, the sound of crows flying around.The Naxi proverb, “Clothes, food and shelter are born from the soil” is chanted fragmentarily, and weaves them in the same way as my existence wandering around the island.Post Oblivion thus sings about permanence as well as loss.Through the rhythms and harmony of nature, it conveys a thunderous silence that confronts the politics of the colonial past and cultural memory.

Labels and other works Click here for more information. ///Click here to see more Dusty Ballz releases available at Tobira.

----------------------

Includes DL code. Edition of 50.

Dusty Ballz:

" There is nothing better than oblivion, since in oblivion there is no wish unfulfilled. (HP Lovecraft)

September 2019, during a residency exchange program curated by the Lijiang Studio, Chunyang Yao set foot in Shiraoi, a town in Hokkaido historically populated by Japan's indigenous people, the Ainu. A peculiar sense of inversion struck her. Being a Naxi artist emerging from the southwestern city of Lijiang, Yao had become accustomed to performing under a certain exotic gaze in China. Yet, dipping into the arcane, almost bygone lifeworld of the Ainu, for the first time she found herself to be the curious spectator upon another ethnic group, in whom she saw, with profound ambivalence, the shadow of her own people. This moment of entanglement reverberates on, slowly translating into a delicate resonance between two ethnic minority traditions, both struggling for the right to remembrance on the margins of modernity. is audible, does forgetting make a sound? This question drove the making of Post-Oblivion.

Unlike what the title suggests, listening to Post-Oblivion demands emotion. Side A of the cassette contains a composition in five movements, which is based on field recordings collected during Yao's stay in Hokkaido; Side B presents a long-form improvisation of voice, noise samples, and synthesisers, the track gets its title “AyuDabuya” from the babbling of Yao's daughter after she heard the recording.Respectively, the two sides showcase Yao's unique artistic sensibility as a composer and as a vocal/electronics improviser. Together they also present an intricate landscape of sound, cut across by her multiple, overlapping identities: as a contemporary artist, a mother, a Naxi descendent, and a traveler in a foreign land.

The Ainu and the Naxi share a pantheistic vision of nature, through which religion and culture are embedded in their environmental surroundings. In the Naxi Dongba script, to say “without a sound” takes four glyphs: a lead stone, a pair of horns, Likewise, instead of recording directly with the Ainu community, Yao gathered musical cues from Hokkaido's natural soundscape — onshore breezes, a raging geyser, cries of the seagulls, and crows hovering above the seaside town of Tomakomai. stitched them with a fragmented chant of the ancient Naxi proverb: “All food and clothing arise from the soil”, which weaves in and out just like her own wandering presence on the island. Post-Oblivion, as such, sings about loss but also perpetuity. Through nature's own rhythm and harmony, it channels a roaring silence confronting colonial pasts and the politics of cultural memories."

Artist : Chunyang Yao 姚春旸

Label : Dusty Ballz

China·Lijiang-born Naxi experimental musician Chunyang Yao released a limited edition of 2023 cassettes in March 3 from Dusty Ballz, a Chinese underground music label based in London, England.

Contains 6 songs from free jazz to drone. Comes with DL code. 

Below is a commentary by the label.

In September 2019, during a residency exchange program curated by the Lijiang Studio, Chunju Yao set foot in Shiraoi, Hokkaido, a town historically inhabited by Japan's indigenous Ainu people.At that moment, she had a strange feeling of reversal.A Naxi artist born in the southwestern city of Lijiang, Yao was accustomed to performing under a certain exotic gaze in China.However, when she stepped into the esoteric world of Ainu life, she realized for the first time that she was a mysterious spectator of other races, and in it she saw the shadow of her own race with her deep ambiguity. Became.This entwined moment slowly reverberates and translates into a delicate resonance between two minority traditions struggling for their right to be remembered on the fringes of modernity.If memories are audible, does forgetting make noise?This question isIt was the driving force behind the production of Post-Oblivion.

Post-Oblivion, unlike what you might expect from its title, demands emotion from the listener.Side A of the cassette tape contains a five-movement composition based on field recordings Yao collected during his stay in Hokkaido, while Side B is a lengthy improvisation with voice, noise samples and synthesizers. A performance is recorded.Two facets of Yao's unique artistic flair, both as a composer and as a vocal and electronic improviser.As a contemporary artist, as her mother, as a descendant of the Naxi tribe, and as a traveler in a foreign land, her identities overlap, and her complex sonic landscape unfolds.

The Ainu and Naxi share a pantheistic view of nature, and religion and culture are embedded within their environment.In the Naxi Dongba script, four glyphs are required to say "no sound": a lead stone, a pair of horns, a chipped moon, and a quark.Similarly, rather than recording directly with the Ainu community, Yao gathered musical cues from the natural soundscapes of Hokkaido.Wind blowing over the seaside town of Tomakomai, fierce geysers, the cries of seagulls, the sound of crows flying around.The Naxi proverb, “Clothes, food and shelter are born from the soil” is chanted fragmentarily, and weaves them in the same way as my existence wandering around the island.Post Oblivion thus sings about permanence as well as loss.Through the rhythms and harmony of nature, it conveys a thunderous silence that confronts the politics of the colonial past and cultural memory.

Labels and other works Click here for more information. ///Click here to see more Dusty Ballz releases available at Tobira.

----------------------

Includes DL code. Edition of 50.

Dusty Ballz:

" There is nothing better than oblivion, since in oblivion there is no wish unfulfilled. (HP Lovecraft)

September 2019, during a residency exchange program curated by the Lijiang Studio, Chunyang Yao set foot in Shiraoi, a town in Hokkaido historically populated by Japan's indigenous people, the Ainu. A peculiar sense of inversion struck her. Being a Naxi artist emerging from the southwestern city of Lijiang, Yao had become accustomed to performing under a certain exotic gaze in China. Yet, dipping into the arcane, almost bygone lifeworld of the Ainu, for the first time she found herself to be the curious spectator upon another ethnic group, in whom she saw, with profound ambivalence, the shadow of her own people. This moment of entanglement reverberates on, slowly translating into a delicate resonance between two ethnic minority traditions, both struggling for the right to remembrance on the margins of modernity. is audible, does forgetting make a sound? This question drove the making of Post-Oblivion.

Unlike what the title suggests, listening to Post-Oblivion demands emotion. Side A of the cassette contains a composition in five movements, which is based on field recordings collected during Yao's stay in Hokkaido; Side B presents a long-form improvisation of voice, noise samples, and synthesisers, the track gets its title “AyuDabuya” from the babbling of Yao's daughter after she heard the recording.Respectively, the two sides showcase Yao's unique artistic sensibility as a composer and as a vocal/electronics improviser. Together they also present an intricate landscape of sound, cut across by her multiple, overlapping identities: as a contemporary artist, a mother, a Naxi descendent, and a traveler in a foreign land.

The Ainu and the Naxi share a pantheistic vision of nature, through which religion and culture are embedded in their environmental surroundings. In the Naxi Dongba script, to say “without a sound” takes four glyphs: a lead stone, a pair of horns, Likewise, instead of recording directly with the Ainu community, Yao gathered musical cues from Hokkaido's natural soundscape — onshore breezes, a raging geyser, cries of the seagulls, and crows hovering above the seaside town of Tomakomai. stitched them with a fragmented chant of the ancient Naxi proverb: “All food and clothing arise from the soil”, which weaves in and out just like her own wandering presence on the island. Post-Oblivion, as such, sings about loss but also perpetuity. Through nature's own rhythm and harmony, it channels a roaring silence confronting colonial pasts and the politics of cultural memories."

Artist : Chunyang Yao 姚春旸

Label : Dusty Ballz