旣 Apeiron
Label : Future Proof : 面向異日
Format : Cassette / Digital
Cat.No : FPRS 008
Release Date : 29 December 2019 (Digital) / 29 January 2020 (Cassette)
旣 Apeiron (FPRS008), by Taiwanese artist Cheng Daoyuan should only be purchased with currency issued by the Bank of Hell.
Its waves of distortion crash into, and over one another; buried tones are barely visible in a dark sea of fuzz and decay, occasionally drifting towards the surface to groan.
The conflict is between fried digital clouds and stable notes and rare chords. Sometimes, when a bass note or overdriven drum detonates,
it temporarily overshadows other sounds, before they swirl back to the forefront.
At times the sheer amount of distortion impells one to label these sounds as “dark ambient.”
The second track, “虛見 Hollow in Emptiness,” opens with a repeating note like a blown horn, behind which the other competing noises struggle for attention,
perhaps reminiscent of the cultish ritual recordings of Lustmord. In other areas, the distorted bass drums suggest the gabber techno scene, without the frenetic pace.
There are also field recordings here.
They open up the background, combining the paranoid digital tones with false reassurances of open spaces and natural tones.
Haunted voices, cryptic announcements from tannoys and even bird sounds appear on the track “落芽 Lamella Cries,” before being overwhelmed by sludgy toneclouds,
and finally a pattern of telegraph taps that fades over into the next track.
旣 Apeiron is structured into three chapters, each of which have their own independent themes and changes.
Track eight, “幽示 Divulging,” is a collaboration between Daoyuan and the Taiwanese conspiracy psychedelic trio, Mong Tong.
The album also includes remixes that feature interpretations by peers - Wa?ste, Yearning Kru and Yun Hao.
Contrasts are what Cheng Daoyuan presents.
Throughout this numinous volume, impossible sounds are brought together, like the artificial bleeps meeting somber piano tones on “離界 Eidolon.”
These unlikely partners are forced together to compete in an arena of noise – summoned, perhaps, like minor demons.
Here sounds burn, like hellish bank notes - consumed by flames and sent to another, darker realm.
你只能透過地獄銀行發行的貨幣來購買這張，來自臺灣藝術家鄭道元的首張專輯 - ”旣 Apeiron”(FPRS008)。
破音的巨浪相互撞擊，相互堆疊，迷離的曲調被埋葬在腐壞幽暗的冥海之中，偶爾向海面漂浮低吟。
在尖銳的數位音雲、平穩的音符和迥異的和弦間產生矛盾的迴盪，當低音音符或破碎的鼓點炸裂之際，暫時覆蓋了所有聲音，再旋回到最前沿。
巨大的失真使人們將其歸類成”黑暗環境聲響”，
第二首曲目”虛見 Hollow in Emptiness”，以類似號角聲的重複音符開場，背景則有令人注意的噪音彼此碰撞，使人聯想到如Lustmord的邪典儀式。
在其他部分，破裂的低音鼓點使人回到硬蕊鐵克諾場景，但沒有狂亂的節奏。
由環境錄音從背景揭開序幕，
結合瘋狂的數位曲調和謬亂的空間、自然聲響。幽魂般繚繞的人聲、神祕單調的宣告聲，甚至鳥鳴聲都出現在曲目”落芽 Lamella Cries”中，
在被污濁的噪牆淹沒之前，類似電報的節奏浮現，緩緩淡入下一首曲目。
”旣 Apeiron”可分為三個章節，在概念與聲音上各自有其獨立的主軸和變化。
第八首”幽示 Divulging”是道元與臺灣陰謀論迷幻三人組，Mong Tong的合作。
此張專輯更包含夥伴們 - Wa?ste, Yearning Kru, Yun Hao，不同詮釋的混音作品。
對比，是鄭道元所呈現的重點之一。不可能的聲音被聚集，成為異響。
如人造嗶嗶聲與蒼白陰沈鋼琴曲調在曲目”離界 Eidolon”中相遇。這些不相似的成員被迫在噪雜的舞台上較量，或許像小惡魔般被召喚現形。
在這裡，聲音被業火燃燒，如地獄紙幣被火焰吞噬殆盡，送至另一個更加黑暗的異域。