Kink Gong: Dian Long
‘collection of surreal soundscapes of augmented field recordings’
- 01 Soundscape China, Pt. 1
- 02 Soundscape China, Pt. 2
- 03 BA
- 04 WO
- 05 HIT QIN QIN
- 06 JING JIU
- 07 SHANGHAI
- 08 JI
- 09 SKIP
- 10 MEYO PANGFA
- 11 PINGTAN
- 12 BAI STREET DANCE
‘Discrepant presents 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.”’
Kink Gong: Dian Long: Soundscape China / Destruction of Chinese Pop
‘collection of surreal soundscapes of augmented field recordings’
‘Discrepant presents 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.”’