By Irena Stevanovska

Zhu Wenbo and Zhao Cong are two revolutionary musical artists primarily based in
Beijing. Their album is characterised by a post-modern strategy to sound
manufacturing the place they use experimental methods reminiscent of field-recording.
Zhao Cong’s solo performances contain the no-input technique of making
sounds, along with recording random objects from the sonic setting,
whereas Zhu Wenbo predominantely makes use of the field-recording method to
seize the sound of the world round him.

Of their album-description, it’s mentioned that they’ve been recording quick
intervals of varied sounds from the setting, and on the final day, they
made two lengthy recordings: one in all cleansing up a room and the opposite of creating
bread. Listening to it, its fairly unclear from what the sounds come. However
the 2 lengthy tracks comprising the album characteristic a spread of tones, uniquely
mixing man-made machines, designed for making the lifetime of people simpler,
with the natural acoustics of nature.

It’s actually attention-grabbing how this album provides a refreshing distinction to the
soundscape of our fashionable societies, the place there are various noises which are
continually phasing in and out with one another turning into a whole mess of
sound waves, versus the pure soundscape that usually blends
harmoniously. Cong and Wenbo’s album affords a tranquil perspective on the
noise air pollution that has traditionally plagued fashionable societies. They reveal
the great thing about these metropolis sounds, to encourage the listener to expertise
the loudness and chaos of noise in the identical method they would expertise the
pure sounds of the world round them.

Music has typically been used as a theurapetic technique and although this
album is labeled as a no-music style, it could function a device for studying
to actually pay attention the sounds that exist round us, it invitations the listener to
domesticate a extra attentive, aware relationship with sound.