Dian Long: Soundscape China / Destruction of Chinese Pop
Mutant 4th world catalyst Kink Gong is at his very best here, flipping field recordings into granular, glitching patterns that could be easily mistaken as the work of The Automatics Group/Theo Burt or Rian Treanor. TIP!
“Discrepant presents YET another unique document of Kink Gong's aka Laurent Jeanneau's collection of surreal soundscapes of augmented field recordings, this time turning into his love/hate relationship with China into a mesmerising and unique soundscape of unclassifiable music. “Before becoming KINK GONG I had different names, one of my projects, designed by cultural circumstances in China at the beginning of the 21st Century, was DIAN LONG (electric dragon in Chinese).
Starting a very long trip to nowhere I landed in Shanghai in 2000, with my gear in my bag in order to make music and recordings of whatever. Faced with the cruel tendency of modern China to reject tradition and embrace full on bling bling culture, my option was to attack this music industry commercial flavour by destroying it. I had in my bag a faithful portable CD player who knew how to turn syrup into crystal. Later, reaching Yunnan in 2001, I discovered the reality away from the bling bling of eastern towns and did a realistic soundscape of it.”
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Mutant 4th world catalyst Kink Gong is at his very best here, flipping field recordings into granular, glitching patterns that could be easily mistaken as the work of The Automatics Group/Theo Burt or Rian Treanor. TIP!
“Discrepant presents YET another unique document of Kink Gong's aka Laurent Jeanneau's collection of surreal soundscapes of augmented field recordings, this time turning into his love/hate relationship with China into a mesmerising and unique soundscape of unclassifiable music. “Before becoming KINK GONG I had different names, one of my projects, designed by cultural circumstances in China at the beginning of the 21st Century, was DIAN LONG (electric dragon in Chinese).
Starting a very long trip to nowhere I landed in Shanghai in 2000, with my gear in my bag in order to make music and recordings of whatever. Faced with the cruel tendency of modern China to reject tradition and embrace full on bling bling culture, my option was to attack this music industry commercial flavour by destroying it. I had in my bag a faithful portable CD player who knew how to turn syrup into crystal. Later, reaching Yunnan in 2001, I discovered the reality away from the bling bling of eastern towns and did a realistic soundscape of it.”
Mutant 4th world catalyst Kink Gong is at his very best here, flipping field recordings into granular, glitching patterns that could be easily mistaken as the work of The Automatics Group/Theo Burt or Rian Treanor. TIP!
“Discrepant presents YET another unique document of Kink Gong's aka Laurent Jeanneau's collection of surreal soundscapes of augmented field recordings, this time turning into his love/hate relationship with China into a mesmerising and unique soundscape of unclassifiable music. “Before becoming KINK GONG I had different names, one of my projects, designed by cultural circumstances in China at the beginning of the 21st Century, was DIAN LONG (electric dragon in Chinese).
Starting a very long trip to nowhere I landed in Shanghai in 2000, with my gear in my bag in order to make music and recordings of whatever. Faced with the cruel tendency of modern China to reject tradition and embrace full on bling bling culture, my option was to attack this music industry commercial flavour by destroying it. I had in my bag a faithful portable CD player who knew how to turn syrup into crystal. Later, reaching Yunnan in 2001, I discovered the reality away from the bling bling of eastern towns and did a realistic soundscape of it.”
Mutant 4th world catalyst Kink Gong is at his very best here, flipping field recordings into granular, glitching patterns that could be easily mistaken as the work of The Automatics Group/Theo Burt or Rian Treanor. TIP!
“Discrepant presents YET another unique document of Kink Gong's aka Laurent Jeanneau's collection of surreal soundscapes of augmented field recordings, this time turning into his love/hate relationship with China into a mesmerising and unique soundscape of unclassifiable music. “Before becoming KINK GONG I had different names, one of my projects, designed by cultural circumstances in China at the beginning of the 21st Century, was DIAN LONG (electric dragon in Chinese).
Starting a very long trip to nowhere I landed in Shanghai in 2000, with my gear in my bag in order to make music and recordings of whatever. Faced with the cruel tendency of modern China to reject tradition and embrace full on bling bling culture, my option was to attack this music industry commercial flavour by destroying it. I had in my bag a faithful portable CD player who knew how to turn syrup into crystal. Later, reaching Yunnan in 2001, I discovered the reality away from the bling bling of eastern towns and did a realistic soundscape of it.”
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Mutant 4th world catalyst Kink Gong is at his very best here, flipping field recordings into granular, glitching patterns that could be easily mistaken as the work of The Automatics Group/Theo Burt or Rian Treanor. TIP!
“Discrepant presents YET another unique document of Kink Gong's aka Laurent Jeanneau's collection of surreal soundscapes of augmented field recordings, this time turning into his love/hate relationship with China into a mesmerising and unique soundscape of unclassifiable music. “Before becoming KINK GONG I had different names, one of my projects, designed by cultural circumstances in China at the beginning of the 21st Century, was DIAN LONG (electric dragon in Chinese).
Starting a very long trip to nowhere I landed in Shanghai in 2000, with my gear in my bag in order to make music and recordings of whatever. Faced with the cruel tendency of modern China to reject tradition and embrace full on bling bling culture, my option was to attack this music industry commercial flavour by destroying it. I had in my bag a faithful portable CD player who knew how to turn syrup into crystal. Later, reaching Yunnan in 2001, I discovered the reality away from the bling bling of eastern towns and did a realistic soundscape of it.”