recording at dianchi lake April 23, 2014
emails between Yan Jun and Sun Wei
... and pls write something about yourself. i'm also wondering: when and why did you move back to chengdu from beijing? how you turned your music style from loud noise to quiet sound? what field recording means for you? is field recording music? were you a member of raying temple / nojiji and did you into those new age / psychedelic ideas? how is events you organize in chengdu now? some people hang out and work with you in chengdu?...
I am fascinated by the sounds of the environment, recording and experiencing some kind of experience in the process, and this experience will continue to inspire my spirituality, such as the maze has no end. It is such a living poetic place.
I moved to Chengdu from Beijing at the beginning of 2014, and the cultural atmosphere was so central that I didn't like it. And I tend to be a free man.
My music has not been a lot of noise, in fact, I prefer to enter the interior of each noise, leaving the surface floating on the left is the most able to touch your sounds. I do not care too much about my music is not field recording music, I am not a certain concept of the Defenders., for these self set boundaries need to be completely broken. Although I have used a lot of recording or modulation of composition, improvisation, of course, for me now recording is still important.
In fact I never join any organization, for me is not my interest, I hate psychedelic and narcissistic music and this undoubtedly psycholagny.
I have a audible area project in Chengdu, which started last year. Workshops and concerts. The audience sometimes come here twenty or thirty people, less than five people. The main arrangements for the exchange of musicians and friends to do the activities of Chengdu, but also the local young generation of musicians such as 16ways and leftear, there are currently two venues Jahbar and NUspace for free choice. Li Li and Kristen is the partner of my support. Chengdu is a city of fashion and literature, while maintaining an open and cautious attitude towards the art of experimental avant-garde.
from there is no music from china
released June 30, 2017
答： 我的音乐一直都不算大音量噪音，实际上我更喜欢进入每一个噪音的内部，抛开浮于表面的剩下的便是最能触动你的声音。我没太关心我的音乐到底是不是field recording音乐，我并不是某种观念的坚守者，对于这些自我设定的界限需要彻底打破。虽然我也运用过大量录音或调变作曲、即兴表演，当然现在对我来说录音依然重要。
问：你曾经是NOJIJI和小雷音的一员吗？你对那种 new age 和迷幻的东西感兴趣吗？
答：我在成都有一个 audible area 的项目，始于去年。分为工作坊和音乐会。观众多时二三十人，少时五六人。主要安排一些来成都做交流的音乐家和朋友们的活动，也有本地年轻一代的音乐人比如 16ways 和 leftear、目前有两个合作场地 Jahbar 和 NUspace 可供自由选择。也是得到了合作方李力和 Kristen 的支持。成都是个崇尚时尚的文艺之城，对于真正实验前卫的艺术同时保持了开放、谨慎的态度。