Tag Archives: band

“Falter” by Black Letters

 

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Black Letters is a four-piece alternative rock band based out of Bangalore, India. Comprised of Sharath Narayan, Sarang Menon, Arjun Radhakrishnan, and Akash Chacko, the band harnesses a dreamlike sound that blends electronica and rock elements with wistful pop vocals. Their unique sound has led to the band to be hailed as one of the most promising talents in the Indian music scene. “Falter” is the debut single from their upcoming album released via Overfeed Records. The accompanying music video for “Falter,” directed by Pranav Bhasin and Ankur Vyas, tells a surreal story about two lovers caught between worlds.


Black Letters 是一个印度班加罗尔的另类摇滚乐队,由 Sharath Narayan, Sarang Menon, Arjun Radhakrishnan 和 Akash Chacko 四人组成。他们用梦幻般的音效,将电子和摇滚元素与流行金曲结合起来,为自己打造出印度最有前景的乐队声名。《Falter》作为他们的首张单曲,将由 Overfeed Records 唱片公司收录并发行于整张专辑中。歌曲的 MV 由 Pranav Bhasin 与 Ankur Vyas 执导,讲述了两个恋人在不同世界之间的离奇故事。

Take a listen below to “Landscaper,” the second single from their upcoming album.

Black Letters – Landscaper


点击试听他们的第二张单曲《Landscaper》,将收录于即将发行的专辑。

Black Letters – Landscaper

Facebook: ~/blackletters
Instagram: @blackletters
Soundcloud~/blackletters
Bandcampblackletters.bandcamp.com

 

Contributor: George Zhi Zhao


脸书: ~/blackletters
Instagram: @blackletters
Soundcloud~/blackletters
Bandcampblackletters.bandcamp.com

 

供稿人: George Zhi Zhao

Erhu, Reimagined

The erhu, a traditional Chinese music instrument with over 4,000 years of history. A collaboration between the Hong Kong-born musician and DJ Andy Leung and virtuoso erhist Wan Pinchu has given the instrument new life. Andy Leung’s debut album New Cola (Part 1) successfully combines the traditional Chinese stringed instrument with modern technology, and through his experimental approach, Leung created a distinctly signature sound. The entire album has been released as a free download on their website, and recently, Leung spoke with us about his view on the roles of traditional music instruments and the “lifetime project” that he began earlier this year.


二胡是一部拥有四千多年历史的中国传统乐器,香港出生的音乐家和DJ梁启浩与知名二胡手朱芸編进行了合作,以前所未有的方式将传统的中国弦乐器和新兴科技相结合,创造出了独特的音乐,并在他首张专辑《New Cola (Part 1)》中赋予了二胡新的活力,并且这张专辑已在他的网站上进行免费下载。最近,梁启浩与我们分享了音乐传统对他的启发,并解释了这个从今年早些时候他就开始做的“lifetime project”背后的一些想法。

Listen to some of our favorite tracks from Andy Leung:

Andy Leung – Lights
Andy Leung – Newsfeed
Andy Leung – Organ 2016


以下是来自Andy Leung的几首精选歌曲,欢迎试听:

Andy Leung – Lights
Andy Leung – Newsfeed
Andy Leung – Organ 2016

Neocha: What’s your journey in music been like? You were trained in classical music – what inspired you to transition to electronic music?

Andy Leung: The hardest thing is to categorise my own music – it’s not quite contemporary classical, not quite electronic, probably somewhere in between. I learned classical piano and had all the classical training. But at home, I would find cassettes from my parents, and they would have country, folk, ’80s Cantopop, some really old Mandarin pop, and even Michael Jackson. I was exposed to a lot of music while I was very young. Later on, I also played in a rock band during secondary school because I thought it was cool. That’s where how I learned to play the guitar, bass and drums. We were playing covers songs of Queen, Jimi Hendrix, Red Hot Chilli Peppers and so on. I got into jazz and hip-hop in university, so I studied Dr. Dre and Quincy Jones’ production techniques; they are my favourite producers. I studied music and sound recording at the university; I’ve always been technically minded and nerdy. I started working with electronics and newer technology early on and became interested in electronic music then. After graduating, I played in an electronica band called Introducing, and we toured through the UK and Europe. Working with electronic music is inspiring because the sounds and tones of electronic music are limitless. If you take a piano or guitar, the sound it generates is limited by the design of the piano maker or guitar maker. It is a preset or fixed. Whereas when working with electronic sounds, the possibilities are infinite.


Neocha: 你一直以来的音乐历程是怎样的?您接受过古典音乐方面的学习,是什么契机促使你转换到电子音乐创作的?

Andy Leung: 最困难的事情是归类自己的音乐。我的音乐不算是纯粹的当代古典音乐,也不完全是电子音乐,大概是介于两者之间吧。我学习弹古典钢琴,并接受了所有的古典音乐培训。但是在家里,我喜欢听我的父母收藏的音乐磁带,有乡村音乐、民谣、80年代的粤语流行曲,一些真的非常老的国语流行歌曲,甚至还有Michael Jackson的音乐!所以我从小就接触到了大量不同风格的音乐。后来,在中学期间我还加入了一个摇滚乐队,因为我觉得这很酷。就是在这个期间我学会了弹吉他、贝司和打鼓。我们当时翻唱了Queen,Jimi Hendrix,Red Hot Chilli Peppers等歌手和乐队的歌曲。到了大学的时候,我又喜欢上爵士和嘻哈音乐,于是我开始研究Dr. Dre和Quincy Jones的音乐制作技巧,他们是我最喜欢的音乐制作人。在大学的时候,我学习了音乐录制。我是一个对科技特别感兴趣的怪咖,从很早的时候开始,我就喜欢电子类的东西以及跟新科技有关的事物。从那时起,我开始对电子音乐感兴趣。毕业后,我在一个名为Introducing的电子乐队里表演,我们在英国和欧洲各地巡演。制作电子音乐是让人很受启发的事情,因为电子音乐里的声音和音调是无限的。如果是钢琴或吉他,它们所产生的音色会受到制作这台钢琴或这把吉他的人的设计所限制。它们的声音是预设的,固定不变的。而在电子音乐里,却有着无限的可能性。

Neocha: In 2012, you composed and performed for the London Olympics, becoming the youngest Chinese musician to have done so. What did this experience mean to you?

Andy Leung: Looking back, that was the project that helped me establish credbiity and set a foundation for my journey to being a composer. I was very young and I was suddenly on the same stage with composers who I aspired to be.  This was actually the first time I incorporated Chinese elements into electronic music. In the beginning, I thought it was cheesy to do so because it was too obvious: Chinese composers playing Chinese instruments. I always thought that it was a gimmick. But In 2014, when I worked with Wan Pinchu, who I collaborated with for New Cola, my entire thought process and creative process matured a lot and I started to embrace Chinese instruments. I now see it as just an instrument and not an “Eastern” instrument. Of course, most people don’t see it in the same way.


Neocha: 2012年,你为伦敦奥运会创作音乐并表演,成为当时被选中的最年轻的中国音乐家。这次的经历对你来说有什么意义?

Andy Leung: 回想起来,这一次的经历让我有了一定的信誉,并为我成为作曲家奠定了基础。那时候我还很年轻,却突然能够与那些我所崇拜的作曲家同台演出。那实际上也是我第一次将中国传统元素运用到电子音乐中。一开始,我觉得这样做有点太俗气,因为实在是太理所当然了:中国作曲家演奏中国乐器。我一直认为这只是一个噱头。但就在2014年,当我和朱芸編开始合作时,我的整个思维过程和创作过程中成熟了很多,我开始真正地接受中国传统乐器。我和朱芸編合作创作了New Cola》这张专辑。现在在我看来,二胡只是一个乐器,而不是一个属于“东方”的乐器。当然,大多数人的想法可能和我不一样。

Neocha: In your debut album New Cola (Part 1), what was your biggest challenges working with the erhu?

Andy Leung: In the New Cola project, we took a traditional erhu and enhanced the instrument so it can make distorted tone, like dubstep bass, and even a scratch DJ sound. We really tried to push the boundary of creating “new” experiences, and that’s why the album is called New Cola; it’s the same drink, but in a different bottle. I was always aware of the erhu, but never fully understood or appreciated it until I met Wan when we were both backstage at a show. I found that he was a very gifted musician, but the type of music that he was playing was not fulfilling to me, though it had potential. So he showed me a lot of the erhu’s capabilities and we worked together to try to take it to the next level. One of the biggest obstacles is when other people call it “East meets West” or “traditional vs modern”. I think it’s an outdated and overused concept. Instead, I see it as the natural progression of an instrument. The question that we asked ourselves when working on this the project was “What would erhu music sound like in 2016, composed and performed by two musicians with such diverse music experiences?”


Neocha: 在你的首张专辑《New Cola (Part 1)》中,要结合二胡来创作最大的挑战是什么?

Andy Leung: 在New Cola专辑里,我们融入了传统的二胡音乐,同时对这种乐器进行了调整,让它可以产生不一样的音色,譬如dubstep的低音,甚至是DJ刮碟的声音。我们试图真正地突破,呈现“全新”的体验,这就是为什么这张专辑取名New Cola,因为虽然里面是一样的饮料,但瓶子却是截然不同的。我一直都知道二胡这种乐器,但从来没有真正理解或认识它,直到我在一场表演的后台遇见Wan。我发现他是一个非常有天赋的音乐家,他所演奏的音乐感觉很有潜力,但似乎缺了点什么。于是,他向我展示了很多二胡的音乐可能性,我们在一起工作,试图把二胡的音乐带到一个新的水平。对我来说,最大的障碍之一是其他人把我们的音乐称为是“中西合璧”或“传统与现代的结合”。我认为这是一种过时和泛滥的概念。相反,我认为我们的音乐是一种乐器自然发展的结果。在创作这一张专辑时,我们会问自己:“二胡音乐在2016年由两位拥有如此多元音乐体验的音乐家来演奏应该是怎样的?”

Neocha: What does collaboration mean to you? What are some of the challenges and how does it inspire you?

Andy Leung: I’m a big fan of collaborations. Collaborations can trigger a moment of inspiration that you cannot trigger on your own. My tip is to never work alone as a creative because there is always something to learn from others. Make sure that the collaborators are bringing something unique and you are compliant with each other. For example, Jihyun Park’s painting is inspired by music. I worked with her earlier this year alongside a contemporary classical group. She always draws amazing stuff and I’m very into the graphics and visual aspects of art too. I think music on its own loses face value, so we have to combine it with other mediums to create unique experiences. I actually want to work with a chef and try to combine music and food in the future as well!


Neocha: 合作对你来说意味着什么?其中有什么挑战和启示?

Andy Leung: 我很热衷于与他人合作。合作可以触发灵感,这往往是你一个人创作时所没有的。我的秘诀是不要一个人单独创作,因为你总是可以从别人身上发现值得学习的地方。确保合作双方都能带来一些独特的东西,并且双方相处得来。例如,Jihyun Park的绘画就是以音乐为灵感创作的。今年早些时候我加入了一个当代古典音乐小组中,曾和她一起合作过。她的绘画作品很棒,而我也对平面设计和视觉艺术很感兴趣。我认为,限制于音乐本身的创作会失去其价值,因此,我们必须把它与其它媒介相结合,才能创造出独特的体验。坦白讲,我很希望将来可以和厨师合作,尝试将音乐与美食结合!

Neocha: For your lifetime project, you plan to release a single for free every single month. What’s the motivation behind it?

Andy Leung: Consistency is as important as artistic quality. I’ve done a lot of one-off projects in the past, so once it is finished, there aren’t follow-ups. So this is a project that will make sure I’m constantly putting out music and staying in people’s minds. Every song for the lifetime project will be free because I think the next generation will grow up without the habit of paying for music. There are already enough legal sites to listen to music for free anyways, so why would anyone pay for music? Instead, my focus is on creating the relationship between the listener and myself, and to create unique experiences—such as live shows and studio tours—in order to make money. So my music is just a marketing tool rather than a product. As I’m giving a lifetime worth of my work for free, in return, all I ask for is any supporters’ contact details so I can reach them. I message all my supporters about the release of every new song and send them invites if I’m performing in their towns. I actually learned coding to make this work.


Neocha: 你创作这个“lifetime project”每个月都会发布一首免费单曲,这样做背后的动机是什么?

Andy Leung: 作品中的坚持与艺术品质是一样重要的。在过去,我已经做了很多一次性的项目,一旦完成后,就没有了后续。因此,这一次的项目可以确保我会不断地推出新的音乐,让人们一直记得我的音乐。这一张专辑中的每一首歌都将是免费的,因为我觉得下一代人长大后已经不会有付费听音乐的习惯。不管怎样,现在已经有很多合法免费收听音乐的网站,所以为什么人们还需要付费听音乐呢?相反,我的焦点在于建立听众和我之间的关系,并通过创造独特的体验——譬如现场表演或参观录音棚来赚钱。所以我的音乐只是一种营销手段,而不是商品。我的“人生大项目”是免费的,作为回报,我只需要所有支持者的联系方式,这样我就能联系到他们。每首新歌发布时,我会发短信通知他们,如果我在他们当地表演时,还会给他们发送邀请信息。为此,我还学会了编码。

Neocha: What’s your next project and what’s new about it?

Andy Leung: I am going to start a new project in China next year. It will involve electronic music and a lot of collaborations with local underground artists. I’m trying to develop Beat Nations, which is my brand that’s mainly working on event production. It acts as a PR bridge between the UK and China, helping local artists in both countries to have further reach.


Neocha: 你现在正在着手什么项目,将会给我们带来什么样的作品呢?

Andy Leung: 我打算明年在中国开始一个新的项目。这个项目会与电子音乐相关,还会与当地的地下艺术家有很多的合作。我在成立Beat Nations,这是一个有关活动制作的品牌。它将成为英国与中国之间公关宣传的桥梁,帮助两地艺术家在这两个国家有进一步的发展。

Websitebeatnations.com
Facebook~/iamandyleung
Soundcloud: ~/iamandyleung

 

Contributor & Photographer: Shanshan Chen
Additional Images Courtesy of Anthony Tam, CAS, Kii Studios & Photography, Harry Parvin, MRCK, and Vivian Fong


网站: beatnations.com
脸书: ~/iamandyleung
Soundcloud: ~/iamandyleung

 

供稿人与摄影师: Shanshan Chen
附加图片由Anthony Tam, CAS, Kii Studios & Photography, Harry Parvin, MRCK与Vivian Fong提供

Birdstriking

 

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The term birdstriking is aviation jargon that describes the collisions between birds and aircraft in mid-flight. The collisions may be intentional or unintentional, and can sometimes cause damage to the aircraft. When Hefan, the guitarist, vocalist and one of the founding members of the Beijing rock band Birdstriking, first heard this term, he thought to himself, “How can a bird, an animal of just flesh and blood, damage a gigantic airplane that’s made of metal and steel? That is really pretty amazing.” Moving at 80 kilometers per hour, birds can actually generate 216,000 newtons of force on impact. After learning about this, Hefan gained a newfound respect for energy and life. He hopes that the band’s music can generate the same amount of energy, and make a similar kind of impact on listeners.


鸟撞这个词是一个航空的行话,讲的就是鸟撞飞机。这个撞可能是有意识也可能是无意识的,有时甚至能撞坏飞机。当吉他手和主唱,也是创始人之一的何凡,第一次听到这个词的时候,当时他就想,“血肉之躯的鸟怎么可能把钢铁飞机撞坏呢,这现象真是够牛逼的。” 鸟飞行的时速有80公里每小时梦产生21.6万牛顿的力量。何凡知道这事后,对生命的力量产生了新的敬畏。他希望鸟撞的音乐也带给听众同样的能量,冲撞进人们的内心。

Take a listen to some select tracks from Birdstriking below:

 Birdstriking – Yuntianming

 Birdstriking – Magpie

 Birdstriking – No More Rock and Roll


下面是鸟撞的几首精选歌曲:

 鸟撞 – 云天明

 鸟撞 – 喜鹊

 鸟撞 – No More Rock and Roll

The band was formed in 2009, when Hefan met Wang Xinjiu, the band’s original drummer and now guitarist. Later, the original bassist Yang Fan joined the group, and the three of them became the first iteration of Birdstriking. With the addition of a few new band members and some shuffled roles, the group sounded even better and with a fuller, more layered sound. When they are crafting songs, they will often have clashing ideas, but for the group, this is all part of the fun. On the new album, there are the lyrics “Half-hearted conversations and sincere smiles / disagreements fade away in the rhythm”, which they say perfectly summarize the band’s state of mind. As for their style, is it grunge? garage? punk? psychedelic? Hefan likes to think of it as just being indie rock. For him and the rest of the band, it doesn’t matter what genre they are classified under. After all, isn’t enjoying the music the most important thing?


鸟撞在2009年成立,当何凡遇到了当时的鼓手现在的吉他手王欣九,后来贝斯手杨帆加入了乐队,三人成为鸟撞乐队最早的阵容。后来也加入了几名新团员以及一些人员变动,让这个乐队创作更丰富了,也更有层次了。大家在写歌的时候想法有更多的碰撞,也更好玩儿了。在新专辑里,有句歌词:“无心的对话和真心的微笑,所有的吵闹都消失在节奏里。” 完美地概括了鸟撞乐队的状态。至于他们的风格,是垃圾摇滚吗?车库摇滚?朋克摇滚?迷幻摇滚?何凡认为就是独立摇滚,无需在意风格,喜欢就好。

The new album, which will be released next year, was produced by Ricky Maymi, the guitarist for The Brian Johnstown Massacre. He was also the tour manager for the band’s 2015 North American tour. The decision to have him help them produce the album came very naturally. One day when they were on tour, Ricky asked the band, “Who’s producing your next album?”. The band just said, “We want you to produce it,” and he said okay. Whether it was in music or in everyday life, Ricky would give the band a lot of inspiration. On tour they would often just chat and joke around, so it was only natural to have him produce the album too.


明年会推出的新专辑,由Brian Johnstown Massacre的吉他手Ricky Maymi制作。他也是鸟撞2015北美巡演的巡演经历。决定让他来帮助鸟撞制作的新专辑是非常随性的。巡演中的一天Ricky问鸟撞:“你们下一张专辑谁制作?”鸟撞说:“我们想让你制作。”然后他说好的。无论是音乐还是日常生活,Ricky都给了乐队很多启发。巡演中大家也经常聊天和开开玩笑。这专辑让Ricky制作也是自然而然的事儿了。

Hefan says, “The new album is meant to be inspirational, and is dedicated to every young person who feels confident about the future. It’s like a promise to the future. All five of us in Birdstriking are around 25 years old. We all feel like kids who are entering the next stage of adulthood, and right now we are slowly conforming to societal expectations. During this time in our lives, it feels like we‘re just trying to express ourselves, but venting isn’t cathartic enough. To make actual changes to the world, there needs to be action. When a person is dreaming, no matter how good they feel about the dream, it won’t affect reality in the slightest bit. We need to wake up, get our blood flowing, and use our brain and our own two hands to turn our dreams into something real.”


何凡讲:“新专辑是一张鼓舞人心的专辑,它唱给对未来充满信心的年轻人,像是对未来宣誓。鸟撞的五个人都是25岁左右,刚刚进入成人社会的青年,慢慢的将要变成这个社会的主题。在这个过程中,我们发现仅仅单纯的表达和宣泄远远不够,更多时候还要做出行动才能改变世界。一个人在梦中,不管他的梦多么踌躇满志,梦境不会对现实产生丝毫的作用。我们要做的就是起床醒来,让血液驱动身体,用头脑加双手将梦境中的愿景实现。”

Next year will be an important year for Birdstriking. The band’s new album will be released early in the year, and they’ll also be touring and attending lots of music festivals. They hope that more people outside of China will start to fall in love with Chinese bands. Bassist Zhou Nairen really wants to keep making more music that the group can be proud of, and hopes that Chinese rock will only get better over time. In recent years, many live houses in Beijing that have been around for a long time have ominously started to close. From watching gigs at these venues, to actually playing at them, there is a sense of emotional attachment for the band to these places. At the moment, it is unclear how this all will affect Beijing’s music scene in the future. Birdstriking just hope that more Chinese young people who love rock music can pick up an instrument and form bands of their own. This, for them, is the most important thing.


明年对鸟撞来说会是很重要的一年。乐队的新专辑会在明年发行,也会开始巡演和参加很多的音乐节。他们希望更多外国人会开始喜爱中国的乐队。贝斯手周乃仁也希望能够制作更多乐队可以引以为傲的音乐,希望中国摇滚可以走的更好。在最近的几年里,北京以前开了很久的live house都关门了。从最早看演出到后来自己演出,对北京这些大大小小的场地多少有些感情。鸟撞希望更多中国喜欢摇滚的年轻人,可以学一门乐器,组个自己的乐队。对他们来说,这就是最重要的事儿了。

Facebook~/birdstriking

 

Contributor, Photographer & Videographer: Leon Yan


 

供稿人,图片摄影师与视频摄影师: Leon Yan

Duck Fight Goose

 

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The Shanghai-based experimental electronic music group Duck Fight Goose was formed in 2009 initially as a rock band, when Han Han approached 33 and Panda about starting a new band. At that time, their early music was influenced by neo-psychedelic rock, experimental music, and math rock. In 2013, a new drummer Jean Baptiste joined the group, replacing the original drummer Damen, who had moved to Austin, Texas. Soon after that, the band also started experimenting with synths, DAW software, and different ways of producing electronic music.


成立于2009年的鸭打鹅,是一支上海的实验电子音乐组合,始于韩涵找33与熊猫组建一支摇滚乐队。他们早期的风格深受新迷幻摇滚、实验音乐,以及电子摇滚的影响。2013,新鼓手Jean Baptiste加入乐队,以替代移居美国德州奥斯丁的原鼓手大门。随后不久,乐队也开始尝试合成器、DAW软件,以及不同的电子乐制作方式。

Take a listen below to a few new select tracks from Duck Fight Goose:

Duck Fight Goose – Indifferent

Duck Fight Goose – A Nation of Disillusion

Duck Fight Goose – Lucky Star


请试听以下来自鸭打鹅的精选曲目:

鸭打鹅 – 无差别

鸭打鹅 – 幻灭国度

鸭打鹅 – 幸运星

Seven years after forming, the group has just released their second full length album, named CLVB ZVKVNFT. The title comes from an actual nightclub in Zurich, Switzerland named Club Zukunft, that the group visited when they were on tour in Europe in 2014. Translated it means “club of the future” but inside the club, the décor is actually very 80s. Han Han explains, “The 80s were when contemporary electronic music, as we now know it, was born – but this decade for us still felt especially human and analog.” So for the group, the name was a good fit for the new record, in that it encapsulated the thinking behind their sound perfectly.


乐队成立七年之后,他们发行了第二张全长专辑《未来俱乐部》,又名《CLVB ZVKVNFT》。专辑名字来源于乐队2014年欧洲巡演时演出过的一间酒吧,这间酒吧位于瑞士苏黎世,叫做“Club Zukunft”,翻译过来的意思就是“未来俱乐部”。尽管有着一个这样的名字,但事实上,这个地方的内部装潢极具上世纪80年代的风格。韩涵解释道:“那80年代的时候呢,实际上是当代的电子乐的一个开端。但是呢,这个年代可能就是特别人性的一个年代。”所以,对于乐队来说,这个名字再适合这张新专辑不过,同时也高度概括了他们在音乐背后的思考。

Over the years, the group’s sound has evolved very dramatically to incorporate more experimental electronic sounds and textures. Drummer JB says, “it is very difficult to give a predefined style to our music. There is a lot of mixing of things that we are doing, and we have a lot of influences – so there isn’t a clear style.” Han Han tells us that overall they have two main influences: one is progressive electronic music (along the lines of Aphex Twin, Clark, or Venetian Snares), and the other is the type of rock music that the band has always played. For Panda, despite their many evolutions in style, there is still a kind of continuity in their discography, as they have always set out to be an experimental band from the very beginning.


多年以来,乐队不断融合新的实验电子音质和风格,曲风变化奇大。鼓手JB表示:“很难用一种既定的风格来描述我们的音乐。我们混合了太多我们正在探索的东西,而且我们也深受各方面影响,所以并没有一种明确的风格。”韩涵对我们说,总体上看,作用于乐队的有两大影响: 一个是现代电子乐 (这一派的代表人物有Aphex Twin、Clark,和 Venetian Snares),另一个就是乐队经常表演的那种摇滚乐。对于熊猫来说,虽说他们的曲风多经演变,但始终有一种连续性贯彻于他们的音乐专辑中,因为从乐队成立之初,他们就旨在打造一个实验型的乐队。

They like to describe the band’s style as trying to merge the human and analog, with a sound that was produced electronically with machines. The group doesn’t believe in producing music solely from computers or software, as it can easily end up sounding too precise and simple. Han Han says that the group hopes to merge the two styles, and in the process still “try to keep all the interesting and groovy elements”. As for future developments for DFG, the band would really like to see themselves evolve into more of a performance group with more experiential and visual elements incorporated into their live performances – and function less like a conventional band. For 33, it is always uncertain what the future may hold, but she feels that the current direction the band is embarking on is an exciting and interesting one. Duck Fight Goose’s new album CLVB ZVKVNFT is out now and available for download on iTunes.


他们喜欢把自己的乐队风格描述为,通过用机器经由电子化手法制作出来的乐声,进而尝试将人性的音乐和机器的音乐进行的一种结合。在制作音乐上,这个乐队并不信奉对电脑或者软件的单一使用,因为这种方法下产生的音乐易显得过于精准和单调。韩涵表示他们的乐队希望融合那两种风格,在过程中仍然“尽量去保留所有有趣的和groovy的元素”。至于未来发展,相对于传统乐队,鸭打鹅希望,在将来他们可以发展成为在现场演出中结合更多的试验性和视觉性元素的一支表演团体。对于33来说,乐队未来走向如何不得而知,但是她认为目前的发展方向是非常有趣和振奋人心的。目前,鸭打鹅的新专辑《未来俱乐部》已发布,可前往iTunes下载。

iTunes: CLVB ZVKVNFT
Douban
: ~duckfightgoose
Facebook: ~duckfightgoose
Bandcamp
: ~duckfightgoose

 

Contributor & Videographer: Leon Yan
Photographer: Banny Wang


iTunes: 《未来俱乐部》
豆瓣
: ~duckfightgoose
脸书: ~duckfightgoose
Bandcamp: ~duckfightgoose

 

供稿人与视频摄影师: Leon Yan
图片摄影师: Banny Wang

Future Orients

 

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Future Orients is a new Chinese rock band from the Beijing label Maybe Mars, who’ve just finished recording their first album. Humbly self-described as just another ordinary four-man band, the group was born by chance when the four kindred spirits first met in a university dorm and discovered that they loved the same music. Their sound has been described as post-rock, post-punk, math rock, indie, and even dance – but guitarist Guo Zhen actually considers their sound to be more or less pop. Ultimately, he says, what they are aiming for is psychedelic disco, or just something with a beat that people could dance to.


Future Orients是一支中国的摇滚新乐队,隶属北京音乐厂牌Maybe Mars,新近完成了他们第一张专辑的录制。谦称自己只是一支普通四人乐队,他们的组合可谓诞生于大学寝室的偶然,几个同样热爱音乐的年轻人因为志趣相投走到了一起。外界常将他们的风格归为后摇、后朋、数学摇滚、独立音乐,甚至舞曲——但是吉他手果真认为他们的作品其实差不多就是流行乐。他说,最终他们的目标是要做迷幻的士高,或者只是可用来跳舞的音乐。

Take a listen to some select demo tracks from Future Orients:

Future Orients – Running (Demo)

Future Orients – Motto (Demo)

Future Orients – Idol (Demo)


以下为Future Orients新曲小样选集,欢迎试听:

Future Orients – Running (小样)

Future Orients – Motto (小样)

Future Orients – Idol (小样)

Their influences include Mogwai, PK14, DIIV, NEU!, Joy Division, Kraftwerk, and Pink Floyd, but the one band that they all seem to agree on is Foals, whose angular and methodically kinetic style of post-punk has clearly had a stylistic influence over the Future Orients’ sound. Lead singer and guitarist Yong, despite all of their rock influences, insists that the band know nothing about rock music and that that is not what the band makes. What Future Orients make is “sissy pop and middle-aged 70s disco music”, and what they are are just a pop group who like to write songs that are hard on the ears.


他们在音乐上受到Mogwai、PK14、DIIV、NEU!、Joy Division、Kraftwerk和Pink Floyd等乐队的影响,但所有成员一致认可的似乎是Foals。Foals后朋音乐中的生硬和有条不紊的跳跃在Future Orients的音乐中有着分明的风格影响。尽管受到来自这些摇滚乐队的相应,主唱兼吉他手阿勇坚持认为,自己的乐队对摇滚一无所知,并且它也不是乐队创作的内容。Future Orients创作的是“娘炮流行和中老年人迪斯科”,他们只是一支喜欢写难听歌曲的流行乐队。

We meet the band in their own basement studio under an apartment complex in West Beijing, where they rehearse all afternoon for an upcoming gig. Lead singer Yong tells us that, “Right now in China, things are pretty good. There are more festivals, gigs, and foreign musicians coming from abroad. It’s not a bad time to be in a band. People are taking copyright issues more seriously, and more money is being invested into the independent music scene. These are all good things.” The band admit that, despite just starting out in their short career, they haven’t really encountered too many challenges so far.


他们自己的工作室位于北京西边一处公寓小区里的地下室里,他们在这里为一个即将到来的演出排练了一下午,我们也在这里碰面了。主唱阿勇告诉我们: “现在中国都挺好的。音乐节多了,演出多了,国外过气大牌来的多了,最近版权问题搬上了台面是个好事。独立音乐圈也开始有资金流入,也是好事。” 乐队坦言,尽管他们在这条职业道路上刚刚起步,却迄今还未遇到过太多挑战。

Guitarist Guo Zhen says “the independent music scene here is improving all the time, and there are more and more opportunities (for us) to perform. Also more good bands from overseas come here now to play gigs, but if anything, the whole music environment and local rock scene here is not stimulating enough. It’s not as competitive as it is abroad where there are just so many great bands making great music. I prefer to be more stimulated. Because there are far fewer top bands here, sometimes some really strange acts can play music festivals, which I don’t think is so good.” One thing that is worrisome for the band is how over the past two years in Beijing, many performances and gigs have been suddenly canceled, and there always seem to be some new censorship regulations.


吉他手果真说: “我觉得整个市场在变好,乐队演出机会多了,也能看到很多国外的好乐队演出。如果要说一个的话,就是可能整个环境的刺激还不够吧,在乐队作品方面竞争不像国外那么激烈,国外好乐队太多了,我喜欢那种刺刺激激的感觉。因为这里优秀的乐队数量太少,导致什么奇怪的乐队都能上音乐节演一演,这点很不刺激。“困扰着这个乐队的一件事,就是在北京过去的两年里,很多演出被取消,甚至有所谓下架歌曲名单这种事出现。

The band have only just finished recording their first album, which includes ten songs in total, and are now in the process of mixing it. Their goal was to record it quickly and to keep on making new music. For Guo Zhen, the band’s immediate goals are to keep on rehearsing, continue to explore their sound, and keep playing gigs until they have exhausted themselves. Yong says that the only thing that really matters to them is to make the best of today, after all nothing in the future exists. Perhaps a good description of this young band’s mindset can be found in the lyrics of one of their songs: “Sing with all your passion / put your hands up / let me embrace your dreams / let me see your real face / let’s smile, now we’re young / let’s look forward to a better tomorrow.” Maybe Mars plans to release Future Orients’ first album later this year.


乐队最近刚完成他们第一张专辑的录音,这张专辑包括了十首单曲,目前他们正忙于混音阶段。他们的目标是快速结束这张专辑的录制,从而可以开始新作品的创作。对于果真来说,乐队当务之急是继续排练,继续演出,继续摸索,直到把能量消耗完。阿勇说,对于他们来说,唯一重要的事就是踏踏实实干好今天的事,明天都是假的。或许,歌词里唱的就能很好地描述这个年轻乐队的状态: “唱出你的热情,伸出你的双手,让我拥抱着你的蒙,让我拥有你真心的面孔,让我们的笑容,充满着青春的骄傲,让我们期待着明天会更好……”

Facebook~/futureorients

 

Contributor, Photographer & Videographer: Leon Yan


 

供稿人,图片摄影师与视频摄影师: Leon Yan

The Cambodian Space Project

 

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The Cambodian Space Project is a psychedelic rock band that was formed in 2009 in Phnom Penh, Cambodia. The core of the group consists of Tasmanian musician Julien Poulson and Cambodian singer Srey Channthy. Their music can be described as a mix of original Khmer psychedelic rock and sounds from the 60s, which are the years many people consider to be the golden age of Cambodian pop music, before the destruction brought forth by the Khmer Rouge. Frontwoman Channthy grew up in the countryside after the Pol Pot years. In order to make ends meet, she left her village to work in rice fields and construction sites, cleaned houses, and finally ended up singing in a karaoke bar, where eventually she would meet Julien Poulson. We talked to Poulson about how their music came about, and the recent documentary about Channthy’s remarkable life.

 


គម្រោងThe Cambodian Space Projectគឺជាក្រុមតន្ត្រីរ៉ុកមួយបង្កើតឡើងក្នុងឆ្នាំ 2009 នៅរាជធានីភ្នំពេញប្រទេសកម្ពុជា។ អ្នកចម្រៀងពិសេសប្រចាំក្រុមនេះមាន តាស់ម៉ានីន ជូលីន ប៉ូលសុន (Tasmanian Julien Poulson) និង អ្នកចម្រៀងកម្ពុជា ឈ្មោះ ស្រី ចន្ធី (Srey Channthy)។ ចម្រៀងរបស់ពួកគេគឺមានលាយតន្ត្រីរ៉ុកខ្មែរ’n’ដុំៗ និងសម្លេងពីទសវត្ស 60 – ជំនាន់អធិរាជសម្លេងមាសនៃតន្ត្រីប៉ុបរបស់កម្ពុជាមុនការសម្លាប់រង្គាលដោយសម័យខ្មែរក្រហម។ ស្ត្រីឈានមុខគេ ចន្ធី បានធំធាត់ឡើងនៅក្នុងតំបន់ជនបទបន្ទាប់ពីសម័យពលពត។ ដើម្បីចញ្ចឹមគ្រួសារ នាងបានចាកចេញពីស្រុកកំណើតទៅរកការងារនានាធ្វើដូចជានៅរោងចក្រអង្ករ, អ្នកជូតផ្ទះ, ការងារសំណង់, ហើយជាងចុងក្រោយទៅច្រៀងនៅបារខារ៉ាអូខេ, ជាកន្លែងដែលនាងបានជួបប៉ូលសុន (Poulson) ដោយចៃដន្យ។ ពួកយើងនិយាយទៅកាន់ប៉ូលសុនអំពីការកើតន្ត្រីឡើងរបស់ពួកគេយ៉ាងណាដែរ, និងភាពយន្តឯកសារថ្មីមួយអំពីជីវិតដែលគួរឱ្យកត់សម្គាល់របស់ ចន្ធី។

 

Neocha: Why did you choose the name “The Cambodian Space Project”?

PoulsonHaving the word “Space” in our name gives us a lot of creative flexibiity. We might not necessarily be playing space rock, but we have plenty of stylistic space to move, morph, and change shape along the creative journey. Also, the notion that there just might have been a covert space project happening deep in the Cambodian jungle is quite fascinating. I also find the tone and inflection of Cambodian female vocals to be shrill, transcendent, and very spacey. Channthy sometimes sounds like an alien singing, she is the perfect space diva to bring that whole amazing cosmic Cambodian catalogue of 1960’s Cambo Rock into the 21st Century. I feel like the name is a fantastic match for the music trip we’re all on.


Neocha: ហេតុអ្វីបានជាអ្នកជ្រើសយកឈ្មោះថា “The Cambodian Space Project”?

Poulson: ការមានពាក្យថា “លំហ” ក្នុងឈ្មោះនេះផ្តល់អត្ថន័យច្រើនដល់យើងអំពីសិល្បៈទាំងអស់ “លំហ” ផ្លាស់ទីជុំវិញដូច្នេះយើងអាចនឹងមិនចាំបាច់ត្រូវលេង “តន្ត្រីរ៉ុកលំហ” ប៉ុន្តែមានរចនាបទជាច្រើនដើម្បីផ្លាស់ប្តូរ, ប្តូរ និងការផ្លាស់ប្តូររូបរាងតាមការធ្វើដំណើរប្រកបដោយគំនិតឆ្នៃប្រឌិត។ ដូចគ្នានេះផងដែរ ការកត់សម្គាល់នេះថាគ្រាន់តែអាចត្រូវមានជាគម្រោងលំហមួយបានកើតឡើងជ្រៅជាសម្ងាត់នៅក្នុងព្រៃកម្ពុជាដែលកំពុងត្រូវបានគេអំពាវនាវ។ ខ្ញុំបានរកឃើញសម្លេង & ការលើកដាក់សម្លេងឡើងចុះដ៏ស្រួចស្រាវរបស់នារីកម្ពុជា , មានភាពវិសេសវិសាល និង “ទូលំទូលាយ” ណាស់…ពេលខ្លះចន្ធីមានសម្លេងច្រៀងដូចជនបរទេស និងជាកំពូលអ្នកចម្រៀងដែលមានសំនៀងទូលំទូលាយគ្រប់ដង្ហើមចេញចូលទាំងស្រុង, អស្ចារ្យ, ដូចអ្នកចម្រៀងកាតាឡុកកម្ពុជានៃក្រុមហ៊ុន Cambo Rock ក្នុងទសវត្ស 1960 – ឈានចូលសតវត្សទី 21។ ឈ្មោះគឺវាល្អសមគ្នានិងសិល្បៈ និងដំណើរក្រុមតន្ត្រីរបស់ពួកយើង។

Neocha: How does Cambodia inspire your sound? Who are your influences as a band? What’s the general feedback from your Cambodian audience in contrast with your audience overseas?

PoulsonThe band began in Phnom Penh simply as an idea to bridge different music cultures and to create a public event that would appeal to both the Khmer and Western audience. We began with a setlist of 60’s Cambodian Rock – songs that are performed by virtually all of the local wedding bands, but have also been made internationally available on Cambodia Rocks reissues. All of the artists from the “Golden Era” are a huge influence, but then so are Western rock groups like The Velvet Underground. Our latest LP Electric Blue Boogaloo is made up of songs that take their influence from Mexican Garage, French Ye Ye, the Dutch group Shocking Blue, Serge Gainsbourg, the 13th Floor Elevators from Texas, and 60’s Italian Freak Beat.

 

 


Neocha: តើប្រទេសកម្ពុជាជម្រុញសំឡេងរបស់អ្នកយ៉ាងដូចម្តេច? តើអ្នកណាមានឥទ្ធិពលលើក្រុមតន្ត្រីរបស់អ្នក? តើអ្វីជាមតិឆ្លើយតបទូទៅពីទស្សនិកជនកម្ពុជាមានភាពផ្ទុយគ្នាទៅនិងទស្សនិកជនរបស់អ្នកនៅបរទេស?

Poulson: ក្រុមតន្ត្រីនេះបានចាប់ផ្តើមនៅក្នុងរាជធានីភ្នំពេញគ្រាន់តែជាស្ពានទៅរកវប្បធម៌តន្ត្រី និងដើម្បីបង្កើតព្រឹត្តិការណ៍សាធារណៈអំពាវនាវចំពោះសមាជិកទាំងពីរដែលជាទស្សនិកជនខ្មែរ និងលោកខាងលិច។ យើងបានចាប់ផ្តើមជាមួយសំណុំចម្រៀងរបស់ក្រុមហ៊ុនរ៉ុកកម្ពុជានាទសវត្ស 60 – បទចម្រៀងស្ទើរតែទាំងអស់ដែលច្រៀងក្នុងបទចម្រៀងនានាស្ទើរតែទាំងអស់ដែលបានច្រៀងជាមង្គលការក្នុងស្រុកត្រូវធ្វើឱ្យប្រើបានឡើងវិញជាអន្តរជាតិ លើក្រុមហ៊ុន Cambodia Rocks។ សិល្បករសិល្បការនី “Golden Era” ទាំងអស់ជាអ្នកមានឥទ្ធិពលខ្លាំង ប៉ុន្តែបន្ទាប់មកជាក្រុមរ៉ុកសិល្បៈលោកខាងលិចដូចជាក្រុម Velvet Underground ជាដើម។ LP Electric Blue Boogaloo ចុងក្រោយរបស់ពួកយើងត្រូវបានតាក់តែងជាចម្រៀងដែលយកឥទ្ធិពលរបស់ពួកគេពីតារាចម្រៀងដូចជា Mexican Garage, French Ye Ye, Dutch group Shocking Blue, Serge Gainsbourg, Texan 13th Floor Elevators, និង ក្រុម Italian Freak Beat នាទសវត្ស 60។

Take a listen to some of our favorite tracks from The Cambodian Space Project:

 

The Cambodian Space Project – Denim Lover

The Cambodian Space Project – Laisses Tomber Les Filles

The Cambodian Space Project – Woman Wants to Drink

The Cambodian Space Project – The Boat


ស្ដាប់បទចម្រៀងជ្រើសរើសរបស់យើងខ្ញុំមួយចំនួនពី ដឹខេមបូឌា ស្ពេស ប្រូជេក:

 

The Cambodian Space Project – Denim Lover

The Cambodian Space Project – Laisses Tomber Les Filles

The Cambodian Space Project – Woman Wants to Drink

The Cambodian Space Project – The Boat

NeochaHow did the documentary come about? Tell us about the process of making it, and what has been the reception so far? 

PoulsonI was first in Cambodia thinking I would make a music documentary, not form a band. I started doing this, and along the way, met two people who would turn out to be very important to the documentary story: Marc Eberle, who took over the making of Not Easy Rock’n’Rolland Channthy, whose character is just the right balance of truth, fiction, and fantasy to make the whole thing a story worth telling.


Neocha: តើឯកសារនេះបង្កើតឡើងដូចម្តេច? ប្រាប់ពួកយើងពីដំណើរការបង្កើតវាបានទេ, និងអ្វីដែលត្រូវបានគេទទួលស្វាគមន៍មកទល់ពេលនេះ?

ប៉ូលសុន: កាលដែលខ្ញុំនៅកម្ពុជាលើកដំបូងខ្ញុំគិតថាអាចធ្វើបានតែឯកសារតន្ត្រី មិនមែនបង្កើតក្រុមទេ។ ខ្ញុំចាប់ផ្តើមធ្វើនេះនិងនៅតាមផ្លូវបានជួបមនុស្សពីរនាក់ដែលក្លាយទៅជាមានសារៈសំខាន់ណាស់ចំពោះរឿងភាពយន្តឯកសារ: Marc Eberle ដែលជាអ្នកមើលការខុសត្រូវ និងជានាយកក្នុងការបង្កើតភាពយន្ត “Not Easy Rock’n’Roll”ហើយចន្ធីដែលជាតួរអង្គប្រកបដោយតុល្យភាពនៃសេចក្តីពិត, ប្រឌិត និងទាក់ទាញដើម្បីធ្វើឱ្យមានតម្លៃក្នុងការប្រាប់ពីសាច់រឿងទាំងមូល។

Neocha: What are you working on now and what are you looking forward to in the future? Any new projects or upcoming shows?

Poulson: We’re currently staging a music theatre called Cosmic Cambodia that also explores Channthy’s story both on and off the stage, and at the same time it’s being developed into a rock opera that we’re calling Hanuman Spaceman, which is a collaboration with Brazilian-Australian director Carlos Gomes and producer Harley Stumm of Intimate Spectacle. Channthy and I will be looking at ideas for new songs and we will see where these ideas take our band in 2016 and beyond.


Neocha: តើពេលនេះអ្នកកំពុងធ្វើការលើអ្វី ហើយអ្វីដែលអ្នកសម្លឹងថាឆ្ពោះទៅរកនាពេលអនាគត់? តើនៅមានគម្រោងថ្មី ឬ ការប្រគុំក្នុងពេលខាងមុខណាទៀតទេ?

Poulson: ថ្មីៗនេះពួកយើងកំពុងបង្កើតភាពយន្តតន្ត្រីដែលហៅថា”Cosmic Cambodia”ដែលឆ្លុះបញ្ចាំងពីប្រវត្តិរឿងរបស់ ចន្ធី ក្នុងនិងក្រៅឆាក ហើយកំពុងត្រូវបានអភិវឌ្ឍដូចជាល្ខោនអូបេរ៉ា ពួកយើងហៅថា”Hanuman Spaceman”។ វាបង្ហាញថាជាកិច្ចសហការជាមួយលោកនាយក ប្រេស៊ីល អូស្ត្រាលី លោក Carlos Gomes និងផលិតករលោក Harley Stumm នៃ”Intimate Spectacle”។ ចន្ធី និងខ្ញុំនឹងកំពុងស្វែងរកគំនិតសម្រាប់បទចម្រៀងថ្មី ហើយងនឹងស្វែងរកទីកន្លែងសម្រាប់គំនិតទាំងនេះចាប់ផ្តើម CSP ក្នុងឆ្នាំ 2016 និងលើសពីនោះ។

Neocha: How did you all meet and fall into the groove of making music together? How did Srey Channthy first react when you all started playing together?

Poulson: At first, it was just me on an acoustic guitar accompanying Srey Channthy at a bar called The Alley Cat. We knew about three or four songs reasonably well and played these songs three to four times during that first night. The bar started filling up and by the end of the night we had a whole band of musicians jamming along with various instruments. I think Channthy was certainly surprised, she was probably a bit nervous at first before the show. She burst into tears at another show earlier in our career. She was so emotional because of the very enthusiastic reaction from an audience made up from both Cambodian and Westerners who applauded by yelling out and clapping, which is something Cambodian audiences just don’t do. Instead, they dance. Since this humble beginning, as a frontwoman, the bigger the shows, the higher Channthy flies. Thankfully, the rest of us have all been blessed with the experience of flying along with Channthy. The band has now performed hundreds of shows around the world, from remote Cambodian villages to major festivals in over 20 countries. Once, we played a jail in outback Australia, while another odd but memorable venue was at an elephant’s 50th birthday party.


Neocha: តើអ្នកទាំងអស់គ្នាបានជួប និងចូលច្រៀងតន្ត្រីរួមគ្នាយ៉ាងណា –​តើស្រីធីមានប្រតិកម្មលើកដំបូងយ៉ាងដូចម្តេចពេលអ្នកទាំងអស់ចាប់ផ្តើមលេងជាមួយគ្នា?

Poulson: ដំបូងខ្ញុំគ្រាន់តែជាអ្នកលេងហ្គីតាសូរស័ព្ទអមស្រីចន្ធីនៅបារមួយដែលគេហៅឈ្មោះថា អាលី ខែត (Alley Cat)។ យើងបានដឹងថាប្រហែលបីឬបួនបទចម្រៀងនិងលេងបានយ៉ាងល្អដោយសមហេតុផលទាំងនេះជាចម្រៀង 3-4 បទក្នុងអំឡុងពេលយប់ដំបូង។ នៅក្នុងបារតាំងពីចាប់ផ្តើម ដល់ចុងបញ្ចប់ពេលយប់ ពួកយើងនិងក្រុមតន្ត្រីទាំងមូលកាន់យកឧបករណ៍ផ្សេងៗ ហើយចាកចេញទៅ។ ខ្ញុំគិតថាចន្ធីប្រាកដជាមានការភ្ញាក់ផ្អើល ហើយប្រហែលជាសង្ស័យអីផ្សេងៗចំពោះការច្រៀងលោកដំបូងនេះ។ នាងយំសស្រាក់នៅមុនពេលច្រៀងក្នុងការប្រគុំផ្សេងៗទៀត។ នាងរំជួលចិត្តដូច្នេះដោយសារតែប្រតិកម្មសាទរយ៉ាងខ្លាំងពីទស្សនិកជនទាំងពីរបស្ចិមប្រទេស និងកម្ពុជាដែលបានសាទរដោយការស្រែកចេញនិងទះដៃ – ជាអ្វីដែលទស្សនិកជននៅកម្ពុជាមិនបានធ្វើ។ បន្ទាប់មក ពួកគេរាំ។ ចាប់តាំងពីចិត្តរាបទាបនេះចាប់ផ្តើម, ក៏ដូចជាស្រ្តីឈានមុខ, ជាការបង្ហាញធំ, ចន្ធីមានប្រជាប្រិយភាពខ្ពស់, និងដោយអំណរគុណ….អ្នកផ្សេងទៀតនៃពួកយើងត្រូវបានសរសើរដែលប្រកបដោយប្រជាប្រិយភាពជាមួយចន្ធី។ ពេលនេះក្រុមត្រូវបានដើរប្រគុំរាប់រយជុំវិញពិភពលោក ពីបណ្តាភូមិនៅប្រទេសកម្ពុជាឆ្ពោះទៅរកពិធីបុណ្យធំជាង 20 ប្រទេស។ មានម្តងនោះ ពួកយើងបានលេងនៅជិតពន្ធនាគារក្នុងតំបន់ដាចស្រយ៉ាលមួយនៅប្រទេសអូស្ត្រាលី ខណៈពេលដែលមិនមានតន្ត្រីនៅឡើយប៉ុន្តែតាមដែលចាំបានខ្លះៗគឺនៅក្នុងពីធីបុណ្យគំរប់ខួបលើកទី 50 របស់ដំរី។

Websitecambodianspaceproject.org
Facebook: ~/The-Cambodian-Space-Project
Soundcloud
: @thecambodianspaceproject

 

Contributor: Jia Li 
Photos & Video Courtesy of The Cambodian Space Project, Marc Eberle, Richard Kuipers, Rob Winter


Websitecambodianspaceproject.org
Facebook: ~/The-Cambodian-Space-Project
Soundcloud
: @thecambodianspaceproject

 

អ្នកជំនួយ: Jia Li 
មានការអនុញ្ញាតពី រូបថត & វីដេអូដោយ:
គម្រោង The Cambodian Space, Marc Eberle, Richard Kuiper, Rob Winter