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Between the Keys 最后的打字机

December 8, 2017 2017年12月8日



“Look at you sir, you looked handsome as a young man,” I remark, glancing at some old photos sitting out on a desk.

Not skipping a beat, Bejon Madan fires back with a grin, “You mean to say I’m not handsome anymore, is it?”


Bejon Madan毫不犹豫地笑着反问道:“那你的意思是说我现在不帅了,是吗?”

At 73 year olds, Madan appears unaffected by his age; a youthful vigor glimmers in his eyes and resonates through his voice. Bejon Madan is the owner of General Office Typewriters, a typewriter repair workshop in Mumbai, India. Located on the fourth floor of an inconspicuous building, Madan’s workshop is a small place with only two windows, which, surprisingly, provides more than enough light for him to work. The shop’s sign, which has turned brown with the passing time, is revealing of the decades that the shop has remained in business. Madan has spent most of his life here and has witnessed the city’s transformation over the course of time, including the unfortunate decline of typewriters.

Bejon Madan已经73岁,但他身上好像根本看不出年龄的痕迹——他的声音和眼睛,也依然闪耀着年轻的活力。他是General Office Typewriters的老板,那是位于孟买一幢老房子四楼的一间小型打字机修理工作室。Madan 的工作室地方很小,只能容纳几个人,工作室的招牌经历了几十年的时光洗礼,已经泛黄。阳光从两个窗口照进来,让他有足够的光线来修理那些打字机。Madan一生中大部分时间都是在这里度过的,在漫长的岁月里,他见证了这座城市的转变。

“My grandfather started this shop in 1960, and after the workload became heavy, he requested for me to join him,” Madan recalls. “I accepted the offer and joined the business back in 1976.” Even now, over so many years, the place still exudes a lingering charm from the heydays of the typewriter era.


Back in the day, Madan often worked with local, big-name clients, which included the likes of Union Bank of India and The New India Assurance. There was a constant demand for technicians, and they had a massive team of workers under them who travelled the length and breadth of the city keeping typewriters in best health. “Our workers are well trained in spotting typewriter defects,” Bejon proudly says. “There has never been a case where we haven’t been able to figure out a solution. We made sure that your typewriter stays in the best working condition.”

以前,他们服务的客户包括了本地的大牌公司,譬如New India Assurance 和Union Bank of India,工作源源不断地进来,工作室里的员工规模很大,他们穿梭于这座城市的各个角落,确保打字机的出色工作状态。Madan自豪地说:“我们的员工都很训练有素,他们懂得如何查找打字机的故障。从来也没有我们修不了的打字机。我们能确保客户的打字机处于最佳的工作状态。”

I see one of the workers opening a vintage Remington Noiseless to examine an issue, and it occured to me that this was actually my first time seeing the inside of a typewriter. “This young girl dropped by in the morning and gave us this typewriter to repair,” Madan tells me, noticing my curiosity. “It belongs to her grandfather, but she wants to start using it now. People still come in to get their machines repaired, but other people come in just to donate their typewriters. We have a vintage Remington, a Godrej Prima, and a a Brother Charger 11 because some people thought of them as burdens. They don’t understand their real value.”

我看到员工打开一台老式的Remington Noiseless打字机,要查找它的故障。我突然发现,这实际上是我第一次看到打字机的内部。Madan说“一个年轻的女孩上午过来,让我们修理这台打字机。这台打字机是她祖父的,但她想现在开始用。现在依然会有人拿打字机来修理,但也有其他人只是过来捐掉他们的打字机的。我们收到过一台老式的Remington,一台Godrej Prima,和一台哥 Brother Charger 11,因为有些人会觉得它们是负担。他们不知道这些打字机的真正价值。”

When computerization set in, life as Madan knew it would never be the same again. As technology advanced, typewriters faded out of the public consciousness and Madan’s business began to feel the effects. But even now, Madan doesn’t see typewriters as just a commodity – they were a way of life. He sees them as beautiful fragments of the past and the value he attributes them is evident in his persevering efforts to preserve these slices of history.


There are few places in Mumbai, or other cities in India, where typewriters are still in use, but they’re still clinging on. They might still be found in places like the local courts, notaries, or in a few lawyer’s offices. Though they’re being used less and less, Madan still finds a way to keep his business going. With both a sense of hope and sadness, he says, “What concerns me is how the kids of today may remain unaware of the beautiful yesterday. Beauty never fades; the shine may go but beauty goes on forever and that shall always be the case with typewriters.”


Contributor, Photographer, and Videographer: Omkar Phatak

供稿人,图片摄影师与视频摄影师: Omkar Phatak

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NEKO 噬元兽的力量

November 27, 2017 2017年11月27日



NEKO (which means “cat” in Japanese) is an original animation featuring a heroine who journeys into her pet cat’s fur to battle the gigantic, blood-sucking parasites that have inhabited its body. As a social impact design project, it was conceived by the creators to encourage people to take better care of their furry family members. It’s the only animation project to be awarded the coveted 2017 Design Mark from Golden Pin Concept Design Award. The short film is created by a team of six design students from Southern Taiwan University of Science and Technology — Zeng Pin-Ciao, Tsai Meng-Shu, Liu Yu-Chi, Hsu Tzu-Fu, Wang Wei-Fan, and Lin Hao-Ting. The production sees each student’s special skills – as artists, producers, video editors, and more – all working in tandem to bring to life the fun, animated short. Below, we had a chat with Zeng Pin-Ciao, the director of NEKO, on the challenges of working as a team and the differences between American and Japanese animation.


Neocha: What was the motivation behind the original story?

Zeng Pin-Ciao: In the beginning, I was inspired because I was spending a lot of time with cats. I lived with a cat for around six months, and unfortunately, the cat fell ill. Afterwards, I began learning about the variety of parasites that can affect a cat, as well as how to prevent it. In the end, I decided to use the concepts of health and disease prevention as the starting point to remind people of the unremitting love and devotion that we promise our pets.

Neocha: 当初创造故事的动机是什么?

曾品乔: 最初主要是因为我和猫咪有了长时间接触,才萌生的念头。当时我和家里的猫咪生活了半年,但猫咪不幸生病了。随后我就了解相关的知识,像是寄生虫与除虫等,最后我决定以宠物健康防疫观念作为出发点,提醒大家不时的要想起当初养宠物的决心,爱护与照顾必须是要持之以恒的。

Neocha: How long did it take to finish the animation? What difficulties did you encounter?

Zeng Pin-Ciao: It took eight months to finish the short film. In the beginning, the challenge was to bond as a team and figure out how all of our technical skills could fit together since we were all individual artists. This was my first time doing Japanese-style animation and many aspects were fresh, new, and challenging. It took one-and-a-half months to complete just one-minute of animation. The total length of the final animation is longer than four minutes. The biggest challenge was getting the composition right because adjusting it at a later point would mean that the whole scene would have to be redrawn. As a director, it’s important to be decisive, otherwise it affects the mood of the entire team.

Neocha: 这支影片花了多久时间完成?期间有没有遇到什么困难?

曾品乔: 这支影片共花了8个月才完成。一开始是技术上的磨合,因为大家都是刚开始配合,加上我是第一次执行日式动画的处理方式,很多事情既新鲜也很艰钜挑战,1分钟的动画制作差不多1个半月,我们影片总长约4分多钟。过程中最具挑战的部分就是修改镜头,因为其实对于动画来说,修改就等于是重画,所以是要下定决心才能做修正,不然随便修改也会影响到整体团队的氛围。


Neocha: It’s obvious that you’re deeply influenced by Japanese animation. How did this interest come about and who are your favorite animators?

Zeng Pin-Ciao: Actually, when I was in high school, I adored American animation, such as the work being put out by Dreamworks and Walt Disney. The purpose of a Disney film is to make people happy and make them dream. Inspired by this, I started to study American animation. Later, during university I got to know the work of Japanese animator Satoshi Kon, and I realized that animation can also be used to encourage deeper thought and reflection through negative emotions. The same can be said for the work of Hideaki Anno and Katsuhiro Otamo. In their works, they always give the audience space to reflect; they do not simply aim to please the audience. I began to admire this approach and started studying Japanese illustration. NEKO became my first challenge after I got to understand the Japanese style. This work is also a very important experience for me because it helped me realize a lot of my inadequacies. It was a great learning opportunity.

Neocha: 从作品看出你们受日本动漫影响很深,是受到哪些作品或特定动漫家的影响呢?

曾品乔: 我在高中时期很崇拜美国动画,如迪士尼或梦工厂等等,迪士尼做动画的初衷就是用动画带给人们梦想与快乐,因此开始学习美式动画。后来在大学,也开始接触了日本鬼才导演今敏先生的作品,我发现动画不只是能给人快乐,日本导演喜爱用负面的情绪带给观众更深层的省思,如庵野秀明导演与大友克洋导演也是一样,在作品中总是能带给人思考的空间,不再是单单只是满足观众。我开始憧憬这样的呈现方式,就开始去了解日式绘画。《奈可》就是我接触日式的第一个挑战,对我来说,做这个作品是段非常重要的经历,因为在这过程中我觉察到很多不足之处,因此也学到很多。

Neocha: You received the 2017 Design Mark from Golden Pin Design Award. Can you share the benefits of participating in this competition?

Zeng Pin-Ciao: From the first round of the competition to the final stages, it’s been really exciting all the way. I was incredibly nervous presenting my work on stage, but it was still an unforgettable experience. During the competition, I also attended a presentation training workshop held by Golden Pin Design Award. It was a great experience. In the workshop, I focused on learning about body language and how a good communicator performs. It was a rare opportunity to learn from a master presenter. I really appreciate the hard work of the organizers and the staff was very friendly. I am truly thankful for this opportunity.

Neocha: 你们今年以《奈可》获得金点概念设计标章,可否与我们分享下参与这次竞赛的收获呢?

曾品乔: 从初审到决审都令人非常兴奋。即便在提报作品的时候我非常紧张,但终究也是个人生中非常难忘的经验。竞赛过程中,我参与了金点概念设计奖举办的「简报实战训练」活动,我觉得是很棒的经验。在课程中,我很专注地在看老师的肢体动作,一位能言善道者是如何表演的,这也是很难接触到的实例。感谢整个单位用心的筹备整个企画,工作人员也都非常乐于助人,让人感到暖心,真心感谢给予我们这个机会。

Neocha: So what’s on the horizon for you and the team?

Zeng Pin-Ciao: With the conclusion of NEKO, we already have a short script for a new story that we want to try and make. We’re trying really hard to acquire the necessary resources to pull it off. Because of my experience with NEKO, I feel confident that I’ll have much more to offer in our next project. It’s very exhausting putting so much of yourself into a project, but in the end, I’m happy. Ultimately, with all of my animations, I hope to leave a lasting impression and help people.

Neocha: 接下来是否还有其他的计划?

曾品乔: 接下来有一个小短片的剧本想要尝试看看,还在很努力的找资源与筹备。因为完成了这次的作品《奈可》,给予我很多经验上的帮助,能够放更多思考与意义在下部动画之中。创作虽然说很辛苦,但也真的很快乐,我期望能够用动画帮助到更多的人。

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A Beautiful Contradiction 从蚕到丝:美丽的蜕变

November 24, 2017 2017年11月24日



Just 20 minutes outside of the dusty town of Siem Reap in Cambodia, and away from bustling groups of tourists visiting the Angkor Wat complex, a small farm has quietly revitalized ancient techniques of silk weaving that date back to as early as 4000 BCE. Surrounded by lush rice fields and vast orchards of mulberry leaves, the Artisans Angkor farm is an oasis in this otherwise hot and arid region. The farm was established in the late 1990s when it began recruiting rural women in the surrounding area who lacked formal education and provided training in all facets of the silk-production process, from breeding worms all the way to weaving intricately designed pieces of art. Beginning with just a handful of employees at its inception, today nearly 800 artisans can be found at the farm and its satellite workshops scattered across rural Cambodia.

从柬埔寨暹粒这个尘土飞扬的小镇驱车20分钟,你就能远离吴哥窟建筑群中熙熙攘攘的游客,来到一个安静的小农场,在这里,人们正默默地努力振兴可以追溯到公元前4000年前的古老丝绸编织技艺。在这片炎热干旱的地区,这个名为Artisans Angkor(吴哥工匠)的小农场四周却是郁郁葱葱的稻田和广阔的桑果园,可谓是一片绿洲。农场成立于1990年代末,农场一开始招收周边地区未接受过正规教育的农村妇女来工作,为她们提供从养殖蚕虫到编织复杂艺术品一切有关丝绸生产制作的培训。从刚开始仅有的数名员工,发展到如今拥有将近800名工匠,除了这个农场之外,还在柬埔寨的农村地区开设了众多的小作坊。

The farm is organized as the physical representation of the entire silk production process. As I walk onto the grounds, I first pass through endless lines of thick mulberry bushes that are grown year round as a food supply for the worms. This leads to a large warehouse filled with millions of silkworms that will feed on mulberry leaves until they are moved to wicker trays where they can begin spinning bright orange cocoons that will eventually encase their entire bodies. If you sit quietly and listen, you can even hear a chatter-like sound as the worms voraciously devour the leaves one bite at a time. The final section of the farm is three separate buildings where the cocoons are boiled, unwound, cleaned, dyed, and finally passed along to expert weavers who may spend several months carefully stitching the silk into intricately designed patterns using nothing more than a traditional wooden loom.


While the process of producing and weaving silk is nothing short of awe-inspiring, the sheer volume of raw materials required to make just a single piece of fabric is almost unfathomable. Each cocoon weighs a mere 70 grams and contains approximately 400 combined meters of raw and fine silk. One medium-sized scarf requires no less than 3,000 individual cocoons, while larger items require as many as 6,000 cocoons. The silk farm keeps 20% of the cocoons that will later transform into moths and ensure a steady reproduction rate of new silk worms, with female moths giving birth to upwards of 300 eggs each.


Savuth, one of the farm’s employees, explains to me that while Cambodia may not be a silk powerhouse like India or China, silk weaving is a tradition that runs deep in numerous rural Cambodian households. “My grandma, grandad, and mom also did silk weaving. Just the three of them, they planted the bushes, dyed the colors, and wove scarves. One scarf with just three people would take almost five months,” he says. As a child, Savuth was responsible for caring for the mulberry bushes and making sure the silkworms were well fed, which led to an affinity for worms one usually would associate with a pet dog or cat. “I still play with the worms every day. I like them very much,” Savuth tells me with a grin on his face.


The influx of foreign investment into Cambodia is resulting in a rapid transformation of societal values, where speed and efficiency are swiftly taking the place of craft and tradition. And while Cambodia’s large textile factories are bringing newfound economic gains, the small silk workshops in the country’s sprawling rural areas continue to preserve one of Cambodia’s oldest and most celebrated crafts.


Facebook: ~/ArtisansAngkor
Instagram: @artisansangkor


Contributor, Photographer, and Videographer: Jeremy Meek

脸书: ~/ArtisansAngkor
Instagram: @artisansangkor


供稿人,图片摄影师与视频摄影师: Jeremy Meek

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East x West with Bohan Phoenix 用嘻哈给生活加点辣

November 10, 2017 2017年11月10日



For Chinese American rapper Bohan Phoenix, the subject of identity is thematically central to his music. Having spent his formative years in the U.S., the Hubei-born rapper has gained a sharp insight into both cultures that he channels through his bilingual lyrics. Bohan’s music – which often touches on positive, universal messages of love, acceptance, and pride – is a way for him to reconcile his Eastern and Western identities as well as narrow the cultural divide between the two different worlds.

对于美国华裔说唱歌手Bohan Phoenix来说,身份认同是他音乐的核心主题。这位出生于湖北、在美国成长的说唱歌手在美国和亚洲地区越来越受欢迎。他所创作的双语歌词,正是他跨文化成长背景的体现。Bohan的音乐大部分都是在传递爱与接纳、忠于自己等正能量信息,他希望通过自己的音乐来缩小东西方文化的鸿沟,并以此调和自己介于这两种文化间的身份认同。

Take a listen to select tracks from Bohan Phoenix below:

Bohan Phoenix – PRODUCT (prod. Yllis)
Bohan Phoenix – EASTSIDE (prod. Drummy)
 Bohan Phoenix – 3 DAYS IN CHENGDU (prod. Jachary Beats)

下面是Bohan Phoenix的几首精选歌曲:

 Bohan Phoenix – 一摸一样 (prod. Yllis)
Bohan Phoenix – 东边 (prod. Drummy)
 Bohan Phoenix – 回到成都 (prod. Jachary Beats)

This cross-culture pollination has gifted Bohan a versatility and open-mindedness that’s abundantly evident on the JALA EP released earlier this year. From “EASTSIDE,” an AutoTuned R&B song with Bohan singing instead of rapping, to “NO HOOK,” a trapped out collaboration with Chengdu’s Higher Brothers, Bohan’s sound is not only reflective of his cultural influences but also of the diverse musicians who have inspired him over the years, a list that includes the likes of Jay Chou, Eminem, 2Pac, and D’Angelo. The final song of the EP, “3 Days in Chengdu,” introduces listeners to an introspective side of Bohan. Delivering the opening verse completely in Chinese, Bohan speaks of missing his late grandmother and shares an apologetic confession for not finding the time to call his mom more often. But it’s not just the intro, Chinese lyrics throughout the song display a sense of emotional vulnerability that has often been avoided in the Western mainstream hip-hop of recent years. “Being a rapper in America, there are certain things that come with it,” Bohan says. “You have to act or look a certain way and it can’t be compromised all that much. There’s less emphasis on some of the macho parts of Western hip-hop in China. But stereotypes within the genre are starting to change now in the West as well.”

在今年早些时候发布的《加辣》EP中,Bohan借助自己的跨文化背景大玩了一番。从大量Auto-Tune处理的R&B歌曲《东边》,到与成都说唱组合Higher Brothers合作的《NO HOOK》,你能感受到他的音乐受到不同类型的音乐人影响,包括周杰伦、Eminem、2Pac和D’Angelo。而EP的最后一首歌曲《回到成都》,Bohan放慢了节奏。歌曲开头以中文演绎,讲述Bohan对自己已故姥姥的思念,以及对于太少抽时间给母亲打电话的歉意。这段歌词所透露的脆弱情感,在近年来的西方主流嘻哈文化中难得一见。Bohan表示:“美国的说唱歌手,有时候会有一些不言而喻的要求,你的行为和造型似乎都要遵循某种标准,这一点你不能有太多的自由。但中国嘻哈不一样,没有像西方嘻哈中那样非要强调这种男子气概。当然,在现在的西方嘻哈,这种现象也开始改变了。”

With the recent conclusion of his JALA Asia Tour, Bohan has now officially moved back to China, and joining him is his DJ, longtime collaborator, and close friend Allyson Toy. For Bohan, this move was first and foremost about being closer to family. Secondary to that, both him and Allyson want to be involved in China’s music scene, seeing it to be a refreshing change of pace from the oversaturated music scene that left them feeling jaded in New York. “Having the courage to move back to China and experience a different side of things has been a big milestone for me,” Bohan tells us. “Howie Lee has talked to me about the Chinese Dream a lot. I feel like there have always been opportunities for creatives in China, but now there’s a bigger audience. The equivalent of the ‘American Dream’ has always existed here and right now it’s more alive and well than ever. There seems to be more opportunities now in China for young creatives.”

随着JALA在亚洲巡回演出结束,Bohan也正式回归了中国。和他一起搬过来的还有他的DJ,也是他长期合作的好友Allyson Toy。对于Bohan来说,这是一个让他拉近与家人距离的机会。除此之外,他和Allyson都看好这里的前景,可以一同来推动中国音乐的发展。与之前在过度饱和的纽约那种被慢慢淹没的感觉不一样,这里有一种耳目一新的感觉。Bohan告诉我们:“鼓足勇气回到中国,体验不同的世界,这对我来说是人生的一个重要里程碑。Howie Lee(北京的电子音乐制作人/DJ)已经跟我提过很多次‘中国梦’。我以前一直觉得在中国是有机会去发挥创意的,不同的是,现在这里有了更多的观众。‘中国梦’一直存在,但现在它比以往任何时候都更好、更旺盛。现在的中国可能会给年轻创意人才提供更多的机会。”

In a time where much of mainstream rap has become predictable and formulaic, Bohan stands out by being a rapper who can fully and unapologetically be himself, an outspoken third culture kid unafraid of challenging conventional hip-hop archetypes. “It took me a while to get over my fear of not being understood, but then I realized that I could create and didn’t have to just imitate,” he shares.”Now, I understand my music to be a reflection of self. It’s all of my emotions – when I’m happy, when I’m upset, all of my insecurities and my possibilities. My music is me.”

在当今许多主流说唱方式变得过于公式化的时候,Bohan脱颖而出,无所谓地做着真正的自己,一名不怕挑战传统Hip-hop的第三文化小孩(third culture kid)。他说:“我花了很长一段时间来克服自己对于不被理解的恐惧,但后来我发现,我也可以创造,而不只是模仿。现在,我明白到,我的音乐就是自我的写照,是我的情绪,高兴、不高兴、所有的不安全感和可能性。我的音乐就是我。”

If you’re keen to learn more about Bohan’s story, check out the fun animated spot our creative agency made for Beats By Dre featuring him and his crew.

欢迎点击收看我们创意机构为Beats By Dre创作的动画短片,讲述了Bohan Phoenix的故事。



Facebook: ~/bohanphoenix
Instagram: @bohanphoenix
Soundcloud: ~/bohanphoenix
Weibo: ~/bohanphoenix
Xiami: ~/bohanphoenix


Contributor & Photographer: David Yen
Videographer: Ye Zi, Damien Louise
Music: Howie Lee

Special Thanks to Carhartt WIP, The Private Label, Hotbox, Beats by Dre, and Avenue & Son.

脸书: ~/bohanphoenix
Instagram: @bohanphoenix
Soundcloud: ~/bohanphoenix
微博: ~/bohanphoenix
虾米: ~/bohanphoenix


供稿人与图片摄影师: David Yen
视频摄影师: Ye Zi, Damien Louise
视频音乐: Howie Lee
特别鸣谢Carhartt WIP, The Private Label, Hotbox, Beats by Dre, and Avenue & Son.

The Boys of Summer

November 2, 2017 2017年11月2日

Yuzhou Feigou (whose moniker roughly translates to “A Worthless Cosmic Dog”) is studying visual communication design at the China Academy of Art. Despite declaring to us, “I’m a conservative guy,” his newest illustrations boldly explore themes of homoerotic desire and fantasy. Featuring a cast of young male characters flaunting their luscious bodies, the lazy scenes and bright colors create a sense carefree summer days. Feigou’s simple, yet distinct, style hasn’t gone unnoticed. Recently, VOGUE Me tapped him to create artwork for the magazine’s October issue. Despite this commission, Feigou told us he isn’t interested in becoming a professional illustrator. Even though drawing is just a “passion” project for him, he assured us with a smirk: “As long as I have that lust within me, I’ll keep drawing.”

宇宙废狗,一个在中国美院念视觉传达的学生。尽管他宣称:“我是个保守的人!”但他的插图却不然。他最新的插图主题大胆地探索同性恋的欲望和幻想:以一群年轻的男性为主角,展现他们丰美的身材。其中慵懒的场景、明快的色调,营造出无忧无虑的夏日风情。他简单、透彻又独特的风格不会被忽视,今年的《VOGUE Me》十月刊就把他的作品收入了内页。尽管这样,废狗还是表示他对成为职业插画师没有太大兴趣,绘画对他来说只是一个“激情”项目。“只要还有情欲的话,我就会一直画下去。”

Weibo: ~/宇宙废狗
Instagram: @_dagou


Contributor: Shou Xing

微博: ~/宇宙废狗
Instagram: @_dagou


供稿人: Shou Xing

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October 25, 2017 2017年10月25日

Earsnail is an electronic music duo comprised of musicians Wang Xu and Yan Shuai. Combining their individual approaches to music, the duo is unconstrained by boundaries of genre. Their experimental style reimagines the possibilities of sound and how music can be presented. Under FakeMusicMedia, the two have recently released their debut album, 9999, and locked in tour dates that takes the duo across China. We grabbed drinks with the duo during the Shanghai stop of their tour to learn about their recent musical developments and what we can expect from them in the future.


Having played in bands when they were younger, Wang Xu and Yan Shi have both been interested in creating music even prior to Earsnail. In 2013, the two would meet up and experiment with the production equipment they each had on hand. These early days of experimentation became the foundation for Earsnail. Now, the two’s production style have matured immensely since those early days, with each track filled with richly complex elements. Yan Shi shares that one of his favorite samples is from a field recording of a random saxophonist they met at the park – even though the original recorded sound wasn’t interesting, they were able to take segments of it and integrate it perfectly into a track.


The new album, 9999, is a reference to Beijing’s nickname of “The Four Nine City,” a fitting name considering that the duo sees the album as a compilation of their memories from living in Beijing. For Wang Xu, the most meaningful track on the entire album is “City Bird.” “The song has to do with the place where I called home,” he shares. “There was a tree in front of my house, and during that time, Beijing’s air quality was particularly bad. A few birds made their nest there, and I would observe these birds as they grew and hatched babies. Watching them survive in this kind of environment gave me a lot of different ideas. It made me feel like our lives were not too different from the lives of these birds.” Similarly, their “Ant” track builds on the theme of living in urban environments. The song is a statement about the daily lives of the working class, likening them to a colony ants, continuously working to survive without a moment of respite.


Listen to select tracks from the new album below:

Earsnail – Ants

Earsnail – City Bird

Earsnail – Post Soho City


耳蜗 – 蚂蚁

耳蜗 – 城市小鸟

耳蜗 – 后现代城

The two share a similar mixed feeling around the current state of electronic music in China. They’re both eager to see more new faces and hear new sounds but also feel a sense of apprehension. “I feel like it’s good that more and more people are interested in this kind of music, and more are willing to try and produce it,” Wang Xu comments. “But at the same time, I feel like people are very impatient in this kind of environment, whenever they start anything they’ll first think about whether or not their work will succeed or be recognized by others.”

对目前的电子音乐创作环境,他们有担忧也有期待:“我觉得有一点特别好的是,越来越多的人对电子乐感兴趣,也尝试去创作。 只是其实当下的创作环境还是挺浮躁的,大家在做一件事的时候可能会先去想我的作品会不会成功,会不会被认可。”

As their tour nears the end, Earsnail has toured through a number of different cities across China. The duo has been documenting every city along the way. “Of course, every city is different,” Wang comments, expressing an eagerness to revisit certain cities on their tour. “I’m curious about the changes that these different cities have undergone over the years. The plan is to snap some photos and also keep my ears open to try and find interesting sounds to sample in these different cities.” Concluding their China tour, Earsnail will be stopping by Guangzhou, Shenzhen, and Zhuhai. Click here to purchase tickets.

巡演过程中,耳蜗去往全国很多城市,熟悉或不熟悉的都有,他们也期待纪录下更多内容。“每个城市都特别不一样,最大的好奇点是这些城市相对于几年前发生的变化。我们会在这些城市采集一些有趣的声音,拍一些有意思的影像。” 接下来,耳蜗的巡演还会去到广州、深圳及珠海三个城市,点此购票。

Xiami: ~/Earsnail
QQ: ~/Earsnail


Contributor: Shou Xing
Photographer: Ye Zi
Additional Images Courtesy of Earsnail

虾米: ~/Earsnail
QQ: ~/Earsnail


供稿人: Shou Xing
摄影师: Ye Zi

Xander Zhou Spring/Summer 2018

October 19, 2017 2017年10月19日

For the unveiling of Chinese designer Xander Zhou‘s latest collection, the runaway was transformed into an office-like environment, or more specifically, the headquarters of an imaginary corporation called “Supernatural, Extraterrestrial & Co.” But instead of white-collared workers, Zhou’s office is populated with uniformed staff in glittery tracksuits, bowling uniforms, oriental garments, and other outlandish outfits. Every outfit is a “standardized uniform” in Zhou’s reimagining of modern society in an alternate reality, but the details in each design help draw attention to the diverse origins and cultural backgrounds of Zhou’s imaginary characters. For every single one of his collections, Zhou has described his design approach to be similar to producing a movie, with each look helping to build a cohesive and compelling narrative.

新一季的Xander Zhou的T台被打造成一个巨大的办公室场景,但里面可不仅仅只有西装革履的上班族,更充满了外星人、餐厅服务生、神秘的东方法师等各种角色,乍一看他们隐藏在现代文明之下,却在各自的着装细节里透露着自己身份的线索。对设计师而言,整个系列就像一次个人电影创作,所有look一起构建出最终完整的剧情。一起来看看这场Xander Zhou SS18台前幕后精彩的“演出”。

Instagram: @XanderZhou


Contributor: Shou Xing
Images Courtesy of Xander Zhou

Instagram: @XanderZhou


供稿人: Shou Xing
图片由Xander Zhou提供

Tiffany’s Tokyo TV: Yoshi

October 3, 2017 2017年10月3日



Based in Tokyo, Tiffany Godoy is a seasoned fashion editor and host of SSENSE’s “vlogumentary” series Tiffany’s Tokyo TV. The series explores Tokyo’s fashion scene, interviewing different fashion icons in the city. In one of our favorite episode, released earlier this year, Godoy chats with Yoshi, a 14-year-old fashion figure who attends various fashion events, posts selfies on Instagram with his mom’s phone, and aspires to start his own clothing brand. In the video, Godoy joins Yoshi for a fun day of eating hamburgers, dancing, and visiting his favorite boutique shops in Harajuku.

作为一个资深时装编辑的Tiffany Godoy以东京为背景与SSENSE制作了一档属于自己的真人节目《Tiffany’s Tokyo TV》,旨在深度挖掘这个城市里的时尚ICON们的故事。在这期节目里,Godoy采访了14岁的Yoshi,Yoshi在穿着上非常有自己独到的见解,他以他的方式参加各种时尚活动,用妈妈的手机上Instagram,并且梦想着成立一个自己的品牌。Yoshi跟Godoy一起吃汉堡、跳舞、带领她去他最爱的两个原宿时装店并且分享了自己的一些超龄计划。


September 5, 2017 2017年9月5日

Based in New York, Stickymonger is a Korea-born artist whose work has the ability to transport viewers to dark, surreal worlds. At first glance, her large-scale, black-and-white murals look like ink illustrations, but, in fact, Stickymonger’s murals are actually constructed by cut pieces of vinyl, which she sticks onto gallery walls piece by piece. Her works depict gloomy scenes where young, doe-eyed girls appear to be melting into black puddles, stuck in jars of jam, or drowning in cascades of their own hair.


Stickymonger spent her childhood days in Korea where her family owned a gas station. She says that her fascination with ink and liquid fluidity, which are both trademarks of her artistic style today, began as she played among oil cans. Beyond these childhood memories, she cites graphic novels and anime to be some of her biggest influences. “Galaxy Express 999 is my bible,” she says of the manga series from the late 70s. Some of her other manga-related influences include the works of horror artists Junji Ito, Kazuo Umezu, and Kanako Inuki.

Stickymonger童年大部分是在韩国度过的,她的家人在那里经营着一间加油站。小时候在石油罐中玩耍的经历,让她对油墨和液体流动性的产生着迷,而这两点也成为了她的标志性艺术风格。除了这些童年回忆之外,插画小说和动漫作品对她影响也很大。她说:“《银河铁道999》是我的圣经。”除了这部 1970 年代末的漫画系列,恐怖漫画家伊藤润二、楳图一雄(Kazuo Umezu)和犬木加奈子(Kanako Inuki)的作品也对她的创作有重要的影响。

Despite the dark undertones, her artworks are actually meant to be a creative outlet for some of her past interpersonal struggles, frequently conveying feelings of anxiety and her experiences with prejudice. Oftentimes, the girls depicted in her murals are lost in thought, submerged in sludge with their eyes glazed over, or worriedly looking elsewhere as if searching for an escape from within Stickymonger’s sinister landscapes. Throughout her work, her subjects are intertwined with the landscape, dissolving into bodies of liquid blackness or forming portals into an alternate universe. The large-scale murals, which she has described as a visual representation of her sardonic worldviews, allow viewers to be fully immersed in her dark, haunting landscapes.


After having held successful exhibitions in San Francisco, New York, and South Korea, Stickymonger’s latest work will be featured in CIRQUE NOIR, a group show at AFA Gallery in New York City. The show will begin October 7th, 2017.

继在旧金山、纽约和韩国成功举办展览后,Stickymonger将参加纽约的AFA 画廊举办的群展《CIRQUE NOIR》,展出自己的最新作品。展览开幕时间为2017年10月7日。


Contributor: Megan Cattel

脸书: ~/sticky.monger
Instagram: @stickymonger


供稿人: Megan Cattel

What Are Your Erotic Fantasies?

July 6, 2017 2017年7月6日
The Goddess (2017)
(54 x 38 cm)

While Taiwan has established itself to be far more progressive than its Asian counterparts in recent years, sexuality still isn’t a topic that’s openly discussed. But for Taipei-based illustrator Pigo Lin, this is perfectly fine because he doesn’t only want to talk about his sexual desires – he much prefers showing you. From naughty cat ladies to an erupting volcanic vagina, Lin’s innuendo-filled illustrations are manifestations of some his deepest fantasies.

近年来,虽说台湾社会对于性的开放程度在亚洲来说算是较为先进和进步,然而在这里性依旧不是一个适合被公开讨论的话题。但在这里,性依然不是一个可以公开讨论的话题。然而,对于台北插画家皮哥(Pigo Lin)来说并不要紧,因为除了谈论自己的性欲,他更喜欢用画面表达出来。从淘气的猫女郎到火山喷发的阴道,皮哥通过自己充满暗示性的插图,呈现出自己内心深处的性幻想。

A Ground Swell in Darkness and Distance (2017)
(30 x 30 cm)
Special Spot Check (2017)
(30 x 30 cm)

Prior to his breakthrough as an erotic artist, Lin’s work veered on the complete opposite side of the spectrum – he was a children’s book illustrator. But realizing that this path wasn’t for him, he switched jobs and became a watchmaker. After entering this new job, he began drawing erotica. “When I was 12 years old and in middle school, I already had a strong sense of curiosity towards sexuality and tons of fantasies,” Lin openly shares. “I read porno magazines and played hentai games. I already enjoyed drawing at the time, but I just didn’t draw this type of stuff. Not sure why.” Lin’s first-ever work of erotica was Surf Rescue, an illustration where a half-man, half-shark lifeguard gropes a curvy, bikini-clad female who appears to be thoroughly enjoying the “rescue.”

在成为情色艺术家之前,皮哥的作品完全是另一种画风——他是一名儿童绘本插画家。但他意识到这并不适合自己,所以他换了工作,成为了一名制表师,同时开始画情色主题的插画。皮哥坦言道:“从12岁国中开始,我对于性就有强烈的好奇和幻想,会看色情书刊,也会和朋友玩色情游戏,当时就喜欢画画,但就是不会画色情图,也不知道为什么。”在皮哥人生第一张情色作品《Surf Rescue》中,半人半鲨鱼的救生员正在抚摸一名穿着比基尼的女性,后者则流露出十分享受这种“救援”的表情。

Take Your Suit Off (2017)
(54 x 38 cm)
Surf Rescue (2016)
(54 x 38 cm)

“The term ‘perverted’ represents a deviation from the expectation from the norm,” says Lin. “The definition of what’s normal and what isn’t is changes from country to country. Cultural history plays a part in dictating this. To me, ‘perversion’ is all relative. For some people, my work is wildly depraved and vulgar. But for others, I’m not even coming close to anything they might consider to be perverted.”


Look (2016)
(54 x 38 cm)
Yoga (2017)
(30 x 30 cm)
Cat Woman (2017)
(30 x 30 cm)

Like many other contemporary Asian illustrators, Japanese art played a hand in shaping Lin’s style. Japanese erotica illustrators like Toshi Saeki and Suehiro Maruo were major influences for him, but the Taiwanese artist’s illustrations are considerably more tame. Forgoing the graphic violence and horror elements commonly seen in Saeki and Maruo’s erotic works, Lin’s illustrations instead incorporate humor, references to pop culture, and much bolder colors. In this regard, despite the controversial nature of his drawings, they’re much more approachable for a broader audience. But of course, the influence of Japanese culture extends beyond artists alone – Japanese porn stars are also a tremendous source of inspiration for Lin. “I would say it’s 80% Japanese porn and 20% Western porn,” Lin says of his viewing habits. “For me, porn is both nourishment and inspiration. And as for who I consider to be my favorites, my top five performers, in no particular order, are Shiraishi Marina, Aoi Sora, Uehara, Kawashima Azumi, and Yoshizawa Akiho.”

像许多其他当代亚洲插画家一样,皮哥也深受日本艺术文化的启发。Suehiro Maruo(丸尾末広)和Toshi Saeki(佐伯俊男)这类日本色情插画师对他影响较大,但是皮哥的插图风格更为温和。他没有延续Saeki和Maruo作品中常见的暴力和恐怖元素,而是在自己的插图中融入了幽默的元素和流行文化,并采用了更为丰富的色彩。因而,尽管他的插画依然引人争议,但可以被更广泛的读者接受。当然,在日本文化中,除了这些艺术家,日本色情明星也是皮哥的灵感来源。皮哥说他的色情片观看比例“大概80 %是日本色情片,20 %是欧美色情片。对我来说,色情片是食粮也是灵感。不计名次,我最喜欢的前5名色情明星是Shiraishi Marina(白石茉莉奈)、Aoi Sora(苍井空)、Uehara Ai(上原亚衣)、Kawashima Azumi(川岛和津实)、Yoshizawa Akiho(吉泽明步)。”

Come to Mum Boys, Let Me Take You To Heaven (2017)
(54 x 38 cm)
Join Our Lunch Party (2017)
(54 x 38 cm)
Confess Your Love (2016)
(54 x 38 cm)

Lin’s images serve as a reminder that sex isn’t necessarily a dirty thing. “There’s still a lot of tension around sex,” Lin comments. “You can enjoy it, but you can’t talk about it. There’s a line you aren’t supposed to cross.” While some might simply see Lin as a man obsessed with sex, his mission is actually rather noble; with each illustration, Lin is untangling the threads of taboo around sex and eliminating the sense of shame that many people associate with what is arguably one of the greatest pleasures in life.


Lock (2016)
(54 x 38 cm)

Instagram: @pigolin


Contributor: David Yen

Instagram: @pigolin


供稿人: David Yen

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