Tonic need your support


Great news: The landlord has repaired the sewer and the Mr. John’s are no more!
Our adjusted goal is $80,000.00 which makes us 86% of the way there. Your support has truly been inspirational and we can’t thank you enough. Thank you all!

What you can do:
attend the benefit concerts
contact us to make a contribution or get involved

write a testimonial about why Tonic is important
spread the word

The situation:
Since 1998 Tonic has been a haven for creative music. We have helped nurture the vital community of musicians and audiences who keep this music alive. Now we are in danger of closing and ask you to help us keep Tonic alive.
Over the past few years we have suffered a series of blows: our rent has doubled since 1998, our insurance costs have tripled, we’ve been robbed, and we’ve been plagued by the expense of maintaining a building in ill repair – including the collapse of our main sewer line.
Any of these things would be challenging on their own but together they’ve taken a more serious toll and we are now facing the threat of eviction.
A number of outstanding musicians have come forward to help save Tonic and throughout February and March we will be holding a series of fundraising concerts. If Tonic has been an important venue to you, we ask that you please attend as many of these concerts as possible.
Those who cannot attend but would like to help, please consider making a contribution.
Only with your support can Tonic continue playing its role in presenting this important music to its fans.
Our deepest thanks.


Lawrence English – he is writer, composer and media artist based in
Brisbane, Australia…experimental soundscapes and free improvisation style

between June 20-July3 open for China, HK, Macau or Taiwan

Nguyen Le Band – celebrate the music of Jimi Hendrix

Available for Shenzhen or Guangzhou from 8-10 Sept.

Allan Holdsworth – Jazz rock pioneer and guitar hero

Date – Open. Korea is considering for 2-4 Sept. 2005

Terence Blanchard – Grammy winner

Booked for Hong Kong Arts Festival in Feb 2006

my contact :


Kidult Electronica + Multimedia Concert

Plop – 擲地一聲的簡單音調,一個日本電音廠牌的清亮名字。
自命 clean、natural、pure and tender,



廠牌協辦:Plop (日本)

LULLATONE (聲音 & 影像)
SORA (聲音) + Yuki Hayashi (影像)
暖場:The Marshmallow Kisses (香港)

日期及時間:4/4/2005(一) 兒童節 8:00pm
地點:香港藝術中心 Agnes b 電影院 (香港灣仔港灣道二號)
門票於 3 月 22 日起在城市電腦售票網有售
電話訂票:2734 9009
節目查詢:2808 0301,


Plop 網址:

Kidult @ Kubrick Tiny Concert
日期及時間:2/4/2005(六) 4:00pm
地點:Kubrick 九龍油麻地眾坊街 3 號 駿發花園 H2 地舖 (百老匯電影中心側)

*Artist Profile*

Kazumasa Hashimoto started playing the piano from an early age and studied composition at the Tokyo College of Music. He is noted for creating soundscaped pieces rich in imageries from a combination of acoustic instruments and electronic sounds. He has collaborated with artists such as World’s End Girlfriend and Souichiro Suzuki (World Standard). In addition to two acclaimed individual albums, Yupi and Epitaph, his work has been included in the much talked about recent release, Childish Music (Staubgold 2005). In October 2003, he performed alongside Sketch Show (Haruomi Hosono and Yukihiro Takahashi) at a “Code” event headed by Ryuichi Sakamoto, and supported MorrMusic’s label tour of Japan in April 2004.

身兼作曲家、錄音師與網頁設計師的身份,Kazumasa Hashimoto自幼學習鋼琴,後於東京音樂大學修讀作曲,擅長以鋼琴搭配電子聲響營造意象豐富的音景。他曾為不同樂手的專輯演奏鋼琴,包括World’s End Girlfriend和鈴木?一郎(World Standard)。先後出版個人專輯Yupi及Epitaph,皆廣受好評,最近作品更被收錄於一張名為Childish Music(Staubgold 2005)的合輯中。2003年Hashimoto參與?本龍一策劃的活動 “Code”,讓他有機會與Sketch Show(細野晴臣、高橋幸宏)一起演出,去年擔任MorrMusic日本巡迴的特別嘉賓。


Lullatone is the musical project of Shawn James Seymour who lives in Nagoya, Japan. Lullatone creates. His tiny compositions created on adorably delicate and precise small melodies are characterized by their subtle nature, on a par with the works of Steve Reich and Erik Satie. In his live shows he is often accompanied by stop-motion animation. Since starting the project in 2001, Lullatone has released 3 albums on Plop, Audio Dregs and Childisc, and appeared on a crazy amount of V/As from around the world. He is without doubt one of the most prominent figures of the “childish music” trend!

Lullatone是Shawn James Seymour的個人音樂計劃。定居於日本名古屋的他崇尚「少即是多」,含蓄簡約的音樂風格讓人聯想到Steve Reich和Erik Satie的作品。Lullatone擅長創作細緻精準卻不乏童真稚趣的可愛旋律,現場演出常搭配大量定格卡通影像。Seymour自2001年開始採用Lullatone這個代號,先後在電音廠牌Plop、Audio Dregs與Childisc出版個人專輯,作品並散見世界各地廠牌的合輯中,包括日本著名生活傢俱店Actus的概念合輯,是目前孩子氣(Childish)音樂風潮的重要代表!


Sora (meaing “sky” in Japanese) is the alias of Takeshi Kurosawa from Kyoto, Japan. He grew up playing the piano and began to create music using digital samplers in the early 90’s. Influenced by the “intelligent techno” scene in the UK, his talent was revealed early by his participation in a compilation of the UK label General Production. He has also contributed tracks for apparel brands like Issey Miyake’s “Tenalys” and Tomorrow Land’s “Edition.” His debut album, Re.sort (2003) received great acclaim for its transformation of electronic glitches into nature noises, such as birdsongs, insect humming and gentle waves hitting the shore.

來自日本京都的Sora (Takeshi Kurosawa)自幼學習鋼琴,九0年代開始運用採樣器創作音樂。深受英國IDM風潮影響的他有作品收錄在英國廠牌General Production(GPR)的合輯中。2003年首張專輯re.sort大獲好評,將電子合成的破碎聲音轉化成自然的鳥叫、蟲鳴,或是海浪輕拍岸邊的韻律呼吸,彷如清涼解熱的陣陣微風。Sora並曾為著名服裝設計師三宅一生(Issey Miyake)的品牌Tenalys創作多首音樂,作品也被日本Tomorrow Land的時裝品牌 “Edition”用作BGM。


Mondii (Nao Sugimoto) studied ethnic music at university and played the guitar in several bands, in addition to following his interest in making music on computers. After working as a sound designer for TV commercials, he presently runs the Plop label and his own label Spekk. Nao has releases on various international labels such as Hefty Records, Lo Recordings, Fuzzybox, as well as many Japanese labels. He also plays in a band oriented project called RdL, and has another project called Enna that focuses on physical beat oriented tracks.

Mondii (Nao Sugimoto)從小學習鋼琴,大學修讀民族音樂學,並以吉他手身份參與數個樂隊同時發展用電腦創作音樂的個人興趣。他曾專為電視廣告作配樂,目前擔仕Plop的經理並創立自己的音樂廠牌Spekk。Nao的創作專輯散見於許多國際(如Hefty Records、Lo Recordings及Fuzzybox)及日本音樂廠牌。他另外還參與兩個屬性相當不同的計畫,RdL和Enna。

暖場 Supporting Act

Being usually grouped as the indiepop act, The Marshmallow Kisses inclines to surrender to any worldly pursuit and stereotypical definition. In their debut EP, Edine and Peter turn their paradoxical association and arbitrary affection of the world into bittersweet music along with analog syth and a mixture of twee drum and bossa nova guitar. The seemingly innocent female and male duet whisper about the joyful return of an unrequited love, the moving incentive of the obsession of nostalgia and the hyper sensitivity on daily triviality and human fragility. Behind the wall of their complicated mentality, after all, The Marshmallow Kisses says they just wish to be an autumn breeze that reaches everyone’s heart at gentle pace.
Peter (programming) and Edine (main vocal) participated as session players and harmony vocal respectively for musicians including the pancakes, Dylan Art (Hong Kong) and Three Berry Icecream (Japan).
Debut song released in the Japanese magazine Beikoku Ongaku in 2001.
First EP “i wonder why my favorite boy leaves me an EP” released in summer 2004.
“everyone else is ahead, far ahead” hits No.1 on the foreign langauge chart of radio station CR2 903, Hong Kong.

香港男女二人組合the marshmallow kisses,其音樂可以歸類為清新的indie-pop。意圖把 bossa nova吉他與簡潔派 drum loop混合,於2004年6月推出首張EP ”i wonder why my favorite boy leaves me an EP”,用有限資源灌錄但亦不乏 synth symphony,analog keyboard 及男女合唱等元素。 當中主打歌曲”everyone else is ahead, far ahead”進佔香港商業電台第二台叱吒903豁達推介流行榜七星期及曾攀上第一位。


主辦Presented By:
阿麥書房(香港) Mackie Study
節點文化(台北) Node Culture

場地贊助Venue Supported By:
香港藝術中心 Hong Kong Arts Centre

音樂會預演 場地贊助 Concert Preview Venue Supported By:

Li Chin Sung+Zbigniew Karkowski -Revenge of Ying and Yang


artists: Zbigniew Karkowski and Li Ching Sung

cd code : naim cd 30

label: Noise Aisa

cd title: Revenge of Ying and Yang

Track list

1. Live Action in Shanghai (strategy variation 1)
Recorded live 06 November 2003 at Dome in Shanghai.
Features guest appearances of mhp,b6,cy

2. Transparency

3. Live Action in Guangzhou (strategy variation 2)
Recorded live 08 November 2003 at Solo Bar in Guangzhou

4. Density
Featuring guest appearance of Otomo Yoshihide –

5. Live Action in Macau (strategy variation 3)
Recorded live 31 January 2004 at Oxhouse in Macau

recorded and edited by Zbigniew Karkowski and Li Ching Sung
in Shanghai, Guangzhou, Macau, Hong-Kong, Tokyo, San
Francisco 2003-2005


Allen Law是香港電子樂隊Juno成員,看一下他對-push the button CD看法.


< >





2,以前未出新大碟,先推出的single已經聽得滾瓜爛熟,而且single的b side比大碟的side track還要精采,





4.hold tight London

6. the big jump

8.close your eye

9.shake break bounce

文: Allen Law

Simon Ho (午夜飛行)

Simon 在1996年在Sound Factory 出版了午夜飛行首張CD,我忘記是怎樣認識他的,也忘記為什麼會為他出版CD,他是一位很有理想的人,至少到現在還在做音樂,6個月前他告訴我他會自資出版一張電子音樂CD,還是很實驗的,我還沒聽到CD就是看到Timmy( Juno)這文章才又想起這事,好象還沒出版,等我拿到CD demo再來說一下.

轉:Why Sampling Law Needs to Change


Why Sampling Law Needs to Change

We believe that the court’s decision in this case, and current sampling law in general, severely restricts the ability of sample-based musicians to create their art. In the two decades since the major record labels clamped down on sampling, this art form has been almost completely driven out of mainstream hip-hop. Classic hip-hop albums like “It Takes a Nation of Millions” and “Paul’s Boutque” simply could not be created with the current legal regime. Requiring artists to get authorization does not just put a hurdle in their way, it makes most sample based music impossible to create legally because of overwhelming financial and legal burdens.

Many people, including many musicians, believe that the right of the original artist to control their recording is more important than the right to sample. This view neglects several important points.

First, as a practical matter, the internet makes it completely unrealistic to expect that musicians can limit access or usage of their recordings. With no concern for the law, unlicensed mashups and remixes have exploded on the internet. Control over recordings has become a myth.

Second, to the extent that this issue is on of artists’ rights, it is sample based artists who have had their most fundamental right restricted– the ability to create the music that they are inspired to create. Imagine any artist or musician being told that their art-form was illegal.

And third, musicians like other artists have always built on work that has been done before them. In music, songwriters constantly borrow and build on ideas from other songs–that’s what the history of music is all about. Visual collage art by people like Picasso, Warhol, and Rauschenburg is the most direct analog to sampling and hasn’t faced the same legal shutdown. Sampled-based music is a continuation of this same art tradition but is now illegal for all practical purposes.

Downhill Battle supports a much more open approach to sampling that compensates the musicians who are being sampled while giving sample-based artists the right to do their work. Just as any musician has the right to cover a song for a flat fee without the permission of the songwriter, we support creating a similar “compulsory license” for sampling. A system of this kind would let recording artists continue to earn money from sampling (without the expensive legal middlemen) while resurrecting sampling as a thriving art form. The system could be easily implemented, but is strongly resisted by the major record labels, who are obsessed with retaining complete control over their copyrights.

Why This Project Is Legal
Despite the unfortunate state of US copyright law, there is still Constitutional free speech protection which provides a fair use exemption for parody, commentary, and protest. This project falls squarely within fair use. In many cases, corporations will sue or threaten to sue artists or organizations that exercise their fair-use rights, and the cost of fighting the suit means that most of these legal threats succeed in silencing their target even though they would certainly lose in court.

轉:文邹邹 – 我的版权声明






  非商业用途。 你不可将当前作品用于商业目的。
  保持一致。 如果你基于当前作品更改、变换或构造新作品,你应当按照与当前协议完全相同的协议分发最终作品。



  当前作品受到中华人民共和国版权法以及中华人民共和国其他适用法律的保护。 任何不依照本版权声明对当前作品的使用都是禁止的。
  一旦对这里提供的当前作品行使权利,就表示你接受并同意遵守本许可的条款。 授权者将考量到你接受这些条款和条件,授予你这里所明示的权利。

 2,“文邹邹”指在donews.net注册的“苦咖啡豆”blog的不愿透露其真实姓名的作者的代替名称,也是被在donews.net注册的“苦咖啡豆”blog的不愿透露其 真实姓名的作者指定的署名姓名。
 3. “汇编作品” 是指如期刊、文选、百科全书这样的作品, 它其中的作品处于完全未被修改的形式,和其他一些贡献者一起,它们本身构成分别、独立 的作品,集合在一起成为一个整体。出于本许可的目的,构成汇编作品的作 品本身将不被认为是派生作品(以下将有定义)。
 4. “派生作品” 指基于当前作品,或当前作品与其他已存在作品而形成的作品。例如,翻译、编曲、编剧、编小说、动画版本、录音、艺术品复制、节选、缩写,以及其他可能将当前作品重新铸造、变形、或改编改写后的形式。只是出于本许可的目的,构成汇编作品的作品不被认为是派生作品。
 5. “授权者” 指在donews.net注册的“苦咖啡豆”blog的作者文邹邹。
 6. “原创作者” 指在donews.net注册的“苦咖啡豆”blog的作者文邹邹。
 7. “当前作品” 指在donews.net注册的“苦咖啡豆”blog里的所有可受著作权法保护的原创的信息和内容。
 8. “你” 指以前没有违反过本许可关于当前作品的条款,遵照本声明行使权利的个人、群体或组织。或者,尽管以前违反过本声明规定的条款,但是得 到授权者明确同意可以遵照本声明行使权利的个人、群体或组织。
 9. “通知授权者”指采用授权者指定的联系方式(目前为电子邮件方式。具体电子邮件地址为,把授权者要求提供的真 实的、必要的信息通知、提供给授权者,并得到授权者可出据的回复的行为和全过程。


  1. 复制当前作品,将当前作品纳入一个或多个汇编作品中,复制构成汇编 作品的当前作品;
 2. 建立和复制派生作品;
 3. 对当前作品,包括构成汇编作品的当前作品,分发其拷贝或录音物,公开展示,公开表演,通过数字音频传输公开表演;
 4. 对派生作品,分发其拷贝或录音物,公开展示,公开表演,通过数字音频传输公开播放;

 以上提到的权利可以在任何媒体和形式上执行,包括现在知道的,但不包括今后将设计发明的。 以上权利包括为在其它媒体和形式上行使权利而必须进行的技术性修改的权利。所有未被授权方明确表示授予的权利都据此保留。

  四. 限制。
 1. 你在遵照本声明进行分发、公开展示、公开表演、或数字化公开表演当前作品之前,必须通知授权者,否则你将被剥夺本声明授予你的所有权利。
 2. 你只能遵照本许可进行分发、公开展示、公开表演、或数字化公开表演当前作品,而且,在你分发、公开展示、公开表演,或数字化公开表演的每份当前作品的拷贝或录音物中,你必须包含一份本协议的拷贝,或本协议的网址。你不能提供,或强加任何条款于当前作品上,使得改变或限制本许可的条款,或改变或限制接受者行使下文所授予的权利。 你不能对当前作品转发许可。你必须维持所有参照本许可或免责声明的通知完整无损。你不能通过任何技术性的措施,以不符合本许可协议条款的方式来控制当前作品的访问和使用,从而进行分发、公开展示、公开表演,或数字化公开表演当前作品。以上适用于包含在汇编作品中的当前作品,但是这并不要求除了构成的当前作品本身,汇编作品也要遵从本许可的条款。如果你建立一项汇编作品,当接到任何授权者通知要求,你必须根据其要求,依照可实行的程度,将对 此授权者或原创作者的引用从汇编作品中删除。如果你建立一项派生作品,当接到授权者通知要求,你必须根据其要求,依照可实行的程度,将对此授权者或原创作者的引用从派生作品中删除。
 3. 你只能遵照本声明进行分发、公开展示、公开表演、或数字化公开表演派生作品,而且,在你分发、公开展示、公开表演,或数字化公开表演的每份派生作品的拷贝或录音物中,你必须包含一份本声明的拷贝,或本声明的原始的刊登网址。你不能提供,或强加任何条款于派生作品上,使得改变或限制本声明的条款、或改变或限制接受者行使下文所授予的权利。你必须维持所有参照本声明或免责声明的通知完整无损。你不能通过任何技术性的措施,以不符合本声明协议条款的方式来控制派生作品的访问和使用,从而进行分发、公开展示、公开表演,或数字化公开表演当前作品。以上各点适用于包含在汇编作品中的派生作品,但是这并不要求除了派生作品本身,汇编作品也要遵从本许可的条款。
  4. 你不能以任何意在或直接指向商业利益或私有金钱补偿的方式,行使以上第3部分授予你的权利。倘若没有与具有版权的作品交换相关联的金钱补偿方面的支付,通过数字文件共享或其他方式,用当前作品去交换其他具有版权的作品,不应该被认为是意在或直接指向商业利益或私有金钱补偿。
  5. 如果你分发、公开展示、公开表演、或数字化公开表演当前作品或任何派生作品和汇编作品,你必须维持所有关于当前作品的版权通知完整无缺,并通过传达原创作者的名字(或笔名,如果适用)(如果提供了名字),当前作品标题(如果提供了标题),在你使用的媒介或手段中,合理地归功于原创作者。如果是派生作品,要标明派生作品中使用的当前作品(例如,“原创作者的当前作品的法语译本”,或“基于原创作者的原创作品的电影剧本”)。这样的归功可能以任何合理的方式实现,但是,倘若对于派生作品或汇编作品,这样的归功至少要出现在其他可相比较的原作者出处出现的地方,并且其方式至少要和这样的归功其他可相比较的原作者一样显著。

  五. 陈述、保证和免责声明。
  1. 通过提供遵照本声明的当前作品以公开发布,授权者陈述并保证,授权者经过合理的调查研究后,尽其所能做到:

i. 授权者已经获得所有足够的权利,能够依此授予许可,你不需要对支付任何提成费、强制的许可费、残留费用及其他付款负任何责任,允许对依此授予的权利进行合法的运用;
ii. 当前作品不侵犯版权、商标、公共权利、共有法律权利,以及其他任何第三方的权利,不对任何第三方破坏名誉,侵犯隐私或造成其他非法损伤。

 2. 除非在本许可中明确声明,或另外以书面形式同意,或适用法律所要求,当前作品基于“当作是”的前提注册许可,对于当前作品的内容或准确性,没有任何的保证,无论是明确声明或其中暗示,也没有限制。

  六. 豁免条款。

  七. 终止。
  1. 本声明及依此授予的权利将在你违反本许可任何条款时自动终止。 但是,根据本许可,从你处收到派生作品或汇编作品的个人和实体,只要他们仍然完全遵守他们的许可,他们的许可不会终止。第1、2、5、6、7、8部分将继续有效。
  2. 在符合以上的条款和条件的前提下,在这里授予的许可是永久的(在作品适用版权的期间内)。尽管有以上各点,授权者保留权利,在不同声明条款之下发布当前作品,或者在任何时候终止分发当前作品;但是,任何这样的选择并不被用作撤销本声明(或任何其它已经在本声明条款下授予的,或必须授予的许可),除非如以上一条所述终止,声明可将继续完全具有效力。

  八. 其它。
  1. 你每一次分发、或数字化公开表演当前作品或汇编作品时,授权者给接收者提供一份当前作品的许可,其条款和条件与根据本声明授予你的相同。
 2. 你每一次分发、或数字化公开表演派生作品时,授权者给接收者提供一份原始当前作品的许可, 其条款和条件与根据本声明授予你的相同。
 3. 如果据适用法律,本许可的任何规定无效或不可强行实施,它将不会影响本许可其余条款的有效性和可强行实施性。这样的无效规定应该以最小的程度改变,以使其成为有效和可强行实施的。
 4. 本声明的任何条款或规定都不被认为放弃,而且不能被违反,除非得到由负责这样的弃权或同意的一方签名的书面弃权证书或书面同意。
 5. 本声明包含了与在此注册许可的当前作品相关各方的所有协议。 在这里不遗漏任何与当前作品相关的谅解备忘、协议或陈述。 授权者将不对你发出的任何交流中出现的任何附加规定负有义务。 本声明不经过授权者和你双方之间的书面协议,不得更改。


附:本声明参考由CreativeCommons.org发起Creative Commons (创作共用)公共许可的相关条款修改、编写而成。