CCA Substantials #03 – book+cd


Dickson Dee
William Bennett
Russell Haswell

thanks  for the CCA crew of production and their hard work particularly for design/translation!


i just found that one of my cca workshop introduction not included in the book, so that i put it here to complete it.

"First, I’d like to say that I’m a musician with no formal musical training, meaning I can’t read or write music scores.  I’m saying this so it’d be easier for everybody to understand what I’m going to say.

My obsession with sound can be traced back to the early 80’s when I first contacted British new music.  Actually, it happened quite by accident.  My dad gave me a hi-fi component which came with a LP of New Order.  Since then, I started listening to different kinds of music including post punk, electronic and so on.  Those listening experience have some great influences on my music creativity later on.  My music creativity also happened by accident.  It all began when my company set up a recording system, multi-track recording system.  While I was learning to use the system, I developed some kind of interest in music creativity that grew deeper as time went by.  And when I got familiar with it, I started making some demos. Those demos were considered as my early works and were released as my debut solo album “PAST” under Tzadik label in 1996. 

Since 1985, I have got into the habit of field recording.  At first, I was just recording the sound around me, for instance, the sound that I heard on my way to my grandparents’ house, in the bus, on the road, at home, during meals, or even people talking.  I used walkman, dat, md, and now dv.  These recordings are all very important to me, just like a sound diary.  I never thought that they would become the main sources of my musical works, but in fact they are.  If not for these recordings, I think I wouldn’t have started my music creation.  Well, definitely not.  Every sound of these brings some good memory from the past, so it’s a very pleasant process working on my musical works.  This is also the motive that drives me to the studio to create a new work.

I composed some musical works with the use of sampling method.  One of those is classical composition, which was sampling out of around 100 pieces of classical music.  I spent one day on sampling, and another day on synthesizing.  The piece was composed especially for my workshop in Krakow Academy School in Poland.  My purpose is to bring out a message to the professors and students that even without formal musical training, one can also compose music.  I hoped the students could have a more open-minded attitude towards musical creation.  One of the keys in creating music is the self-training on sound listening, and not just limited to music score.  Some of the important steps are the analysis of sound, re-organizing of structures and combination of elements.  Sometimes, we can put aside the formal musical knowledge, enjoy some moments of free creation, and take our brain and ears to a new journey of music appreciation.

Now, let’s improvise a new piece together.  If you have brought CD with you, you can take it out.  If not, we can use mine.  I would like you to choose the part that impresses you the most.  We will then cut them down and put into the computer for reconstruction and see how it will turn out.  I’m sure this process will give you an interesting new experience.  However, I’m not trying to get everybody to learn sampling and creation, but this process can help you to do immediate judgment on music, which is very significant in the reconstruction of sound or music.  When you know the characteristic of sound, you will have a better picture of sound art.

Today, I’d like to talk about “Sound and Composition”, and make an introduction of the present situation of sound-art artists in China.

The development of Chinese sound art didn’t start until 2000, with only one or two artists.  Up to the present, it has increased to around ten artists but only a few pieces of works.  The main reason behind this was due to inadequate resources, and lack of interchange and communication between artists.  When the ADSL (internet) came into existence, the artists finally had the chance to approach the sound art productions from international artists.  P2P was also the main source, as well as CD. However, CD was kind of expensive at RMB 150 each, which was not affordable to most fans.  This contributed to the slow and late development of non-academic sound art.  I remembered when I brought John Zorn and Eye to China back in 1996, none of the young people knew who they were.  The audience was mainly foreigners or jazz fans.  Of course, they were disappointed because that was a very experimental performance. 

In Between 1994 to 2000, I invited different kinds of avant-garde artists to perform in China, mostly in cities like Guangzhou, Shenzhen, Shanghai, Beijing, Hong Kong, Macau, and Taipei.  Visiting artists included Otomo Yoshihide, Sachiko M, Peril, Zbigniew Karkowski, Mike Patton, Ikue Mori, Ruins, Keiji Haino, Masada and so on.  The recent visits of Zbigniew have push forward the development of sound art in China.

Up to the present, the sound art artists can be found in different cities in China including: Ronez @ Guilin, Wang Zhang Cun @ Haerbin, Wang Fan @ Beijing, Zafka and Justin Zhong @ Guangzhou, Zenlu and Lin Zhi Ying @ Shenzhen, Xu Cheng and Torturing Nurse @ Shanghai, Li Jian Hong and Jin Yao @ Hangzhou.

Speaking of Sound Art in China, I have to mention about the situation in Hong Kong and Taiwan.  Actually, Hong Kong is the earliest city to have experimental artists and CD releases.  The activities can be traced back to late 80’s including self-financed cassettes and fanzines.  In 1992, Sound Factory released the first CD by Chinese experimental artist Xper Xr which was also the first experimental album I produced.  Later on followed by I.666 and PNF.  Basically, they were all noise and avantgarde.  Nonetheless, it’s very hard to organize shows in Hong Kong due to lack of appropriate venues.  In addition, there weren’t many new artists, so the experimental scene kind of faded out gradually.  Until now, I should be among those who remain active, the rest I don’
t know.

With Taiwan, I came across an experimental group called Zero and Sound Liberation Organization in 1993.  The group was formed by 3 college students and disbanded after their graduation.  In 1994, I co-organized with the group the first underground music show.  There were around 2000 audience, and 20 medias, including tv, radio, magazines, came to make live-interview.  That was a very successful event.  After that, the event was held continuously for 2 years.  Eric Lin, one of the members of the group remains active until now.  Other sound art artists in Taiwan are Dino, Pei, and Fuiji Wang and some more i forget the name in this moment." 

11st at Triple J


details please check Triple J link

add: Behind the roller coaster, Culture Palace, Dongmen, Luohu District Shenzhen (134 1064 5216)



This Friday night at the cafe – Dickson Dee, and Runar will be playing a set. Dirt Star will join in for a little set too.

From Runar’s website:

Listen to all my music and related stuff, such as Vindva Mei and DJMusician at Whitelabel@Last.fmYou can hear all our releases in fulllenght there.

Born in Iceland.
Moved to Copenhagen, Denmark in 1996.
Working in electronic, electro-acoustic, experimental, ambient, soundart,
noise blahblahblah..whatever.
Member of Vindva Mei that has been around since 1994.
Released 3 cd´s with Vindva Mei.
Doing solo work for theater and performances since 1999.
4 solo releases: 3 cd´s and one online release on noisejihad.
Various collaborations such as: 1 release with Thor Magnusson. Generative music, on ixi label.
1 track on a russian compilation cd, Tchaikovsky electro
on KAMA records With Ozy.
Played and/or contributed to numerous concerts and festivals in Iceland, Denmark, England, Hong Kong, China, Russia and USA.
Doing masters degree in electronic music at DIEM,
The Royal Academy of Music, Aarhus.

For more info, check out his Myspace here.

Chi from Iceland @ Foshan 12nd Jan


Runar Magnusson 生于冰岛,1996年移居丹麦哥本哈根。作品涉及电子原音、实验、环境、声音艺术、噪音。
1994年组建 Vindva Mei双重奏,并发表三张专辑。1999年开始为剧院创作音乐并演出,发表四张个人专辑,参加冰岛、丹麦、英国、俄罗斯、美国各地的大小音乐会和音乐节。 冰岛声音艺术家RUNAR MAGNUSSON进行声音/音乐创作已有15年,他的作品根植于实地录音、自然声响、声音拼贴和秘密记录周围的人和空间的声音,他的作品具有折衷主义和 多面性。  
1994年R和Detur Eyvindsson组建Vindva Mei双重奏,冰岛媒体以“神秘的、精神分裂的双重奏”来描述他们的演出现场以及内在的创作性。在这个双重奏中,RUNAR显得概念性和抽象化,而 Eyvindsson则倾向于容易被人接受的节奏。1996年Runar搬到丹麦之后,他们的作品开始改变,以静态噪音为主。Runar现为设立于奥尔胡 斯市皇家音乐学院内的丹麦电子音乐中心(DIEM)作母带处理工作。
电声中的绅士——记冰岛音乐人RUNAR MAGNUSSON印象
始 终记得这个冰岛人的长音,在平静的流逝中逐渐侵占你的身体,似乎永远没有断裂的可能性。当四周的暗红色开始在声音的覆盖中丧失视觉意义,我进入了他所营造 出的“极简”音乐氛围。有名人曾经说过:“弹奏一个音,直到它结束。”是真理?还是妄言?而在这个成为明星和爱上某人都只需要15分钟的时代里,音乐带来 的是否是感动已经不再重要。他的音乐能够终止时间?不不不,冰岛并不是阿拉丁神灯的产地,只是那种久违的平和,仿佛一条不携带杂质的溪流,静静的在我身边 穿越,直至爆发的时刻到来,平静终止,类似天谴的轰鸣砸碎了神圣的飘渺;空间中的几个人都在视线中变得不那么清晰,而我已经忘记了置身于时间的河流之中, 跟随他的情绪,把自己的灵魂,接通在所有的电流连接线上。

Runar Magnusson

Dickson Dee

Runar Magnusson music concert in Foshan
Runar Magnusson 佛山音乐会

时间: 12th Jan (20:30 – 22:00)
地点: Ninliho Gallery

Runar Magnusson – Electornics
Dickson Dee – Electornics

Kenbo-video and sounds

主办: Ninliho Gallery & Noise Asia


白White—The Art of sound & Dance


白White——The Art of sound & Dance

地点:扉艺廊Fei Gallery
演出:Runar Magnusson(Electronic)
         Dickson Dee(Electronic)
主办:亚洲传声(Noise Asia)
策划:IOMUSICA   先锋光芒
场地支持:扉艺廊Fei Gallery


excellent post from Volkan Terzioglu

Derek Bailey – Anthony Braxton – Royal Volume 1

It has been exactly one year… This very day he passed away…

On May 25, 1996 I visited the Downs Road (was it 14?) where Incus Records is at and got some lps and cds from Bailey. I will not ever forget the moment. There he was standing and choosing some lps that he is trying to give me. One of these is the one with Braxton, Royal Volume I. Let’s hear from Ben Watson:

(…) on July 1974, Bailey and Brxton played another duo concert, this time in the somewhat less hallowed surroundings of the Royal Hotel in Lutton. The first part was issued by Incus ten years later as Royal Volume I [Incus 43; the hopeful title has never been consummated by a second volume]. There is no ‘compositional’ agenda, and the two players dive straight into the knotted tangles that their agility and high-pitched instruments invite. (…) After grappling like boxers in a huddle, Braxton and Bailey separate and bob alongside ach other without engaging in explicit note doublings or discords, but there’s some mutual understanding of tempo as the pace never relents and they recombine without a moment of confusion. As the dialogue deepens and Bailey’s accompaniment starts to sound orchestral, the clarinet/ guitar pairing suddenly seems classic (…). As Bailey and Braxton reach a mellifluous congruity – though not via subservience to any known music – it’s evident that they’ll soon delight in picking it all apart again. This is music as purest thought; each affirmation is pursued by a denial or question Like reading Finnegans Wake, it takes a few passages before the mind adjusts an starts listening in the right way; suddenly there are glimpses of a world where pure intuition could speak, transcending established vocabulary and grammer. (…) One awaits the release of Royal Volume 2 with impatience.

quoted from Ben Watson‘s book "Derek Bailey and the story of free improvisation", first publish, Verso 2004, p.192-193.

Now let’s hear what Derek Bailey wrote about Anthony Braxton :

Anthony Braxton, who works, as did many of his great predecessors, to extend his tradition and not merely to celebrate it, has been at various times a favourite target of the propagandists, attacking him for: betraying his race (as was Louis Armstrong); being an intellectual (as was Charlie Parker); and diluting the musical purity of his tradition (as was John Coltrane). In short, he stands accused of just about all those things which have previously served to enrich and strengthen jazz. Braxton, recognised by the musicians who work with him as an outstanding musical figure, is unlikely to be deflected by this sort of stuff but if jazz no longer values the sort of qualities he represents then it has a pretty arid future.

from Derek Bailey‘s book, "Improvisation: its nature and practice in music" Da Capo Press, 1993, p.57.

And Anthony Braxton’s words:

I invited Derek Bailey to Paris. In fact I wrote a piece for Derek: at the time I didn’t realize he was totally not interested in notated music. I heard Derek’s music the first time I came to London, with Circle. We stopped over for a couple of days and I played at the 100 Club with Mike Osborne, that was my first performance in London. Thanks to Dave Holland I’d already heard Derek’s records and later that week I heard him live at the Little Theatre. He did a solo gig and, boy, his music excited me. I felt I could really play with this man.

Braxton interviewed by Graham Lock. From Graham Lock’s wonderful book "Forces in Motion, The Music and Thoughts of Anthony Braxton", Da Capo Press, 1989, p.129

Well, my first exposure to the British musicians who came around the same time period as myself was through Dave Holland. Dave played the records of John Stevens and later when we went to London, I had opportunity to meet these people and I found their music fascinating. And I try to let them know that I was interested in their music and that I respected their music. And that I was not coming to visit England as the angry American who thinks only Americans can play. I’m not interested in that. And after meeting with Evan Parker and Derek Bailey, I found a natural affinity with these guys and my musical experiences with them had been very beautiful for me. And so, yes their music was very different from mine in terms of the melodic nature or non-melodic character. But in fact, the melodic character of my music is only one aspect of my music. The records speak for itself now. We have many recordings and I have always felt very, I felt connected to Evan Parker and to some of the improvisers and able to play with them. And for me, it was always a positive experience, I’ve learned a great deal from that experience. But I did not want to only play improvised music, because myself, for me it would be a limitation, because my interest is not just in this area of music. I’m interested in totally music.

October 15th, 1995, interview with the blogger, published at restructures – creative music forum

And as for the last, there are two wonderful obituaries for Derek Bailey:
1. The Wire, 2.1.2006 by David Toop,
2. The Guardian, 29.12.2005 by John Fordham.

Anthony Braxton / Derek Bailey
Royal volume 1

Incus 43 (LP, 1984)
1. Opening (opening) [26:41]
2. Opening (closing) [16:13]
Anthony Braxton (ss, as, Bb-cl, cbcl)
Derek Bailey (el-g)
2nd of July, 1974
Royal Hall, Luton, England (UK)