Tag Archives: dj

Tokyo Blockparty

Around midnight, a black gear van pulls up in the laneway behind Shibuya Nonbei Yokocho, one of Tokyo’s most famous drinking alleys. The doors open and members of the Ill Effects crew pour out. They begin setting up a makeshift DJ booth and sound system in the narrow street, but there isn’t much urgency to their work: a few of them are just milling about, drinking, smoking, and shooting the breeze. However, as soon as the speakers are plugged in, DJ Vulgar steps behind the decks and sets the party in the motion.

People dance, passersby gawk, and others hang back sipping convenience store-bought booze as a crowd begins to gather in the street. Vulgar is chain smoking cigarettes as he mixes together electro bangers with hip-hop beats. As the set ramps up in intensity, the crowd’s rhythmic swaying and head bopping soon escalate into dancing frenzies. But just as the street party goes into full swing, the police turn up.

午夜时分,一辆黑色的挡风车停在东京涩谷最著名的酒巷 Nonbei Yokocho 后面的车道上。门开了,Ill Effects 的成员们涌了出来。他们不慌不忙地在狭窄的街道上搭建临时 DJ 棚和音响设备,团队里一些人还会到处走走逛逛,喝酒、抽烟、吹吹风。而当音响一插上电源,DJ Vulgar 就上台正式“开趴”。

当人群开始逐渐在大街上聚集,里面的人跳着舞,外面的路人盯着看,另外还有一些就喝着从便利商店买来的酒。Vulgar 一根接一根地抽着烟,并把电炮(electro bangers)和嘻哈节奏混在一起。随着人流越来越密集,场地也越来越紧张,观众的节奏也越来越有节奏地摇摆着,很快就变成了疯舞。但正当街头派对如火如荼的时候,警察来了。

The music cuts and Vulgar bolts around the corner, leaving his crew to deal with the authorities. He occasionally peeks around the bend to see how negotiations are going. Five minutes later, the cops leave, and Vulgar saunters back to the decks triumphantly. He flicks his long aqua-green hair and starts again. A fresh crowd begins to gather, replacing those that left during the short interruption. This time the show runs a little longer, 20 minutes, enough for about four songs, three cigarettes, and a freestyle cypher from a few Ill Effects rappers. Again, Vulgar spots the approaching authorities and ducks out.

音乐声戛然而止,Vulgar 迅速逃到拐角处,留下他的队员与当局交涉,而他时不时偷看一下谈判进行得如何。五分钟后,警察走了 Vulgar 得意地回到台上。他拨了拨他的水绿色长发,又开始了新一轮演奏。新一批观众聚集起来,取代了刚才中断时离开的那些人。这次演出时间长了一点,20 分钟,足足放了四首歌、抽了三支香烟,还来了一段《Ill Effects》的即兴说唱(freestyle)。但又一次,Vulgar 发现了警察局的人,赶紧避开了。

This is how a typical Ill Effects party goes down at their unofficial home at the back of Shibuya Nonbei Yokocho. A three-minute stroll from the Shibuya Crossing, behind a lantern-illuminated alley of bars, and tucked between two department stores, it’s a patch of rare inner-Tokyo space that can fit a small crowd, but it’s not ideal for avoiding the attention of the law.

It’s a mystery as to why Vulgar and his crew doesn’t get into more trouble considering that Japan only lifted its infamous Fueiho law—a piece of legislation that literally outlawed dancing—around three years ago. The 70-year-old statue came to be during World War II as a way for officials to keep control of dance halls, which were often used as prostitution hubs. For owners to run a nightclub, they were forced to apply for a “dancing license.” Although throughout the second half of the 20th century the police generally turned a blind eye to the regulation, there was always a risk that bored officers would arbitrarily enforce the rule if they felt like it.

这是典型的Ill Effects”团队如何在涉谷 Nonbei Yokocho 后巷,他们的“后院”举行的派对模式。从涩谷十字路口出发,在灯火通明的小巷后,夹在两家百货公司之间——这是一隅难得一见的东京腹地,可以容纳一小撮人,但它并不是块合适的“法外之地”。

在大约三年前,Vulgar 和他的组员们还没陷入大堆麻烦中,因为日本解除了臭名昭著的“风营法”(Fueiho,日本娱乐产业管理促进法),这项法律几乎禁止跳舞。这个有着 70 年历史的“法律”出现在二战期间,其时作为官员们控制舞厅的一种方式,而那时候的舞厅常常被当作卖淫中心。很多老板为了经营一家夜店,不得不申请跳舞执照。尽管在整个 20 世纪后半叶,日本警察通常对这一规定视而不见,但风险仍在:只要那些无聊的警察如果愿意的话,舞厅就会受到严厉的处罚。

For most streetside performers, police attention would be enough to call it a night, but the game of cat-and-mouse feels like part of the show for Vulgar. He proudly declares himself to be a chinpira (meaning “delinquent”), and in some ways, it feels like the boys in blue are an accessory to this image. “It’s just their job,” he says with unexpected empathy. “I know some of the young ones are Ill Effects fans too.”

对于大多数街头表演者来说,吸引到警察的注意力就够了,会适时结束了,但这种猫捉老鼠的游戏对 Vulgar 来说就像是节目的一部分一样,他自豪地宣称自己是个 Chinpira(意思是罪犯)。从某些方面来说,这个蓝头发的男孩正是他们组合形象的门面。这只是他们(警察)的工作,他带着意想不到的同理心说道。我知道有些年轻警察也是 Ill Effects 的粉丝。

 “Keep it real” are the only three words on Vulgar’s Facebook and Instagram bio. It’s also his e-mail sign-off. These three simple words have become a motto of sorts for him and his crew. For cynics, the proliferation of this slogan has made it devoid of all its meaning over the years. You’re more likely to see the words scrawled across a poorly designed t-shirt than associated with anything of any real substance. But the earnestness with which the Ill Effects crew embrace the terms brings it a renewed authenticity.

With Vulgar’s style, charisma, and talent, he could easily be making good money playing glitzy clubs in Roppongi to crowds of rich gaijins and businessmen drunk off bottle-service champagne. He’s instead sipping on convenience-store coffee and playing to a motley crew of listeners in a back alley. That seems as “real” as it gets.

“I wanted to play in a space where everyone can participate,” he explains. “Some people don’t like clubs, but they still like music. I’d say some of my most dedicated fans are homeless.”

“Keep it real”是 Vulgar 的脸书和 Instagram 简介上仅有的一句话。这也是他的电子邮件签名。这三个简单的单词已经成了他和他的组员的座右铭。而对愤世嫉俗的人来说,多年来这句话的泛滥,已经使它失去了所有的意义。你更有可能看到在一件设计糟糕的 T 恤上看到这潦草的字迹,和任何真正的物质都无关。但是,Ill Effects 这班人却马郑重其事地看待这句话,给它以新的“真实性”。

凭借着 Vulgar 的风格、魅力和才华,他可以很容易地在六本木市(Roppongi)的豪华夜店里赚大钱,去博得大批有钱的老外、能喝整瓶香槟酒的商人的喜好。但他却在喝便利店里的咖啡,给一群杂七杂八的听众在后巷演奏。这看上去再真实不过。


Oceans and decades away from tonight’s Shibuya street party, hip-hop was born. Like the thick layers of spray paint, poster glue, and inner-city grime that formed on the well-trodden streets of New York City, the late 1970s saw the genre emerge as an accumulation of influences. Built from the past, but something undeniably of the present.

“Fancy clubs aren’t the birthplace of hip-hop and dance music,” Vulgar says.

Real hip-hop attitude is synonymous with the grimy underbelly of the city. True hip-hop doesn’t care about the gold chains around your neck or your pricey limited-editions Jordans.

Vulgar’s Nicki Minaj-dubstep-EDM mashups may not be the same as Tupac’s politically charged anthems on All Eyez On Me, but the ideology is the same—a defiant stand against an, at times archaic, legal system, and a fight for unity in a world that loves to build social barriers.

This past summer marked the third year of illegal pop-up block parties for the crew, and it looks like it’s here to stay. “This adventure is my way of pursuing my love of street-centric hip-hop,” says Vulgar. “This is the dream. It’s not a bridge to something else. This is it. I am living the goal.”

今夜的涩谷街头派对和早先年代相比,已经沧海桑田,嘻哈音乐诞生了。就像在纽约,从 20 世纪 70 年代末开始的一层层厚重的喷漆、海报胶水和城市里的泥污,这逐渐累积成为一种影响后人的风格。一切建立在过去的基础上,但不可否认的是,它们是现代的产物。

高档夜店不是嘻哈和舞蹈音乐的发源地。” Vulgar 说。


Vulgar 的 Nicki Minaj 回响贝斯(dubstep)和电子舞曲混搭可能和 Tupac 在《All Eyez on Me》上发布的充满政治意味的作品不同,但其意识形态是一样的——在一个喜欢制造社会障碍的世界里,它是对一种过时的法律制度的反抗,是为团结而作的斗争。

刚过去的这个夏天,是组员们连续三年非法演出的 pop-up 派对,看似是要在这留下了。这次冒险是我追求的、对以街头为中心的嘻哈音乐的热爱的方式。俗话说。这就是我的梦想,不是通向其他事物的桥梁。它就是梦想。我活在我的目标里。

Instagram: @vulgar5111
Facebook: ~/illeffects2015


Contributor: Lucy Dayman
Photographer: Benjamin Hung

Instagram: @vulgar5111
脸书: ~/illeffects2015


供稿人: Lucy Dayman
摄影师: Benjamin Hung

In Tongues



Producer and DJ Alexis Chan, who’s best known under the moniker Soda Plains, is an anomaly in today’s near-stagnant electronic music scene. Unafraid of breaking out of the expected mold of contemporary electronic music, the Hong Kong-born and Berlin-based musician’s avant-garde sounds transcend categorization. Despite the complexities of his productions, Chan’s still able to brilliantly infuse his signature sounds into dance floor-commanding DJ sets.

英国制作人和DJ Alexis Chan出生于香港,如今生活在柏林,Soda Plains是他更为人熟知的艺名。在当今电子音乐的发展趋向停滞的时候,他的音乐可谓是打破闷局的异类。他大胆突破现代电子音乐的一贯风格,由他所创作的前卫音乐超越了常规的音乐分类。尽管他的音乐编曲较为精妙复杂,但依然成功进军传统俱乐部场合。

Take a listen to some select tracks from In Tongues below:

 Soda Plains – Sem Tempo

 Soda Plains – Porcelain

 Soda Plains – In Tongues

下面是《In Tongues》专辑的几首精选歌曲::

 Soda Plains – Sem Tempo

 Soda Plains – Porcelain

 Soda Plains – In Tongues

Chan’s latest project, In Tongues, serves to further his ambitious artistic vision. Working with Brazilian choreographer Negroma, In Tongues is a ten-track album that accompanies a 30-minute live performance. The project was inspired by the concept of xenoglossy, which is a psychic phenomenon that suddenly gifts an individual fluency in a new language. At the performance’s debut earlier this year, Negroma’s interpretive dance and Chan’s darkly atmospheric score introduced the audience at Berlin’s 3hd Festival to dramatic narratives that touched on subjects of identity and change.

最新作品《In Tongues》越发显现出他雄心勃勃的艺术视野。他与巴西舞蹈指导Negroma合作的《In Tongues》专辑收录了10首歌曲以及30分钟的舞蹈表演,专辑灵感源自“特殊语言能力”(xenoglossy)的概念,指的是人们流利地讲一种他自己没有从未学习或接触过的语言的现象。在今年早些时候的首演中,Negroma极具表现力的舞蹈和Chan音乐的黑暗氛围的结合,为柏林 3hd Festival 艺术季的观众带来了充满戏剧性的表演,诠释有关身份和变化的主题。

“When I make music now, I try to avoid the repetitive structure you find in most club songs,” Chen says in an interview, “If I played a song straight from In Tongues in a club mix, it would sound strange, wouldn’t it?. That’s the reality of it. But at live shows, I do plan on taking different layers of sound from the album and mixing it together with drums and percussions.” Later this week, Soda Plains is hosting a workshop and playing two shows in China. On May 18th, the workshop will take place at Shanghai’s Dada; the night after, May 19th, Soda Plains will be playing a club set at the same venue. On May 20th, Soda Plains will be playing at Dada Beijing. Click here to RSVP and for ticketing info.

Chen在接受采访时说:“我现在做音乐的时候,也想着要去避免俱乐部音乐里标志性的那种不断循环重复的结构。说到演出的话,我现在会挑选一些《In Tounges》里的曲子,然后把它们混合到俱乐部的环境之中。听上去是不是有点奇怪?但的确就是这样的。在现场,我会把专辑里那些层次感很强的部分和鼓点和各种节奏部分结合起来一起播放。”本周,Soda Plains将在中国举办一次专题讨论会,还会有两场演出。星期四的讨论会将在上海的 Dada举行,而星期五晚上则会在同一地点进行演出。随后,星期六, Soda Plains将在北京Dada演出。点击这里查看票务和RSVP信息。

Bandcamp: sodaplains.bandcamp.com
Facebook: ~/sodaplains


Contributor: David Yen
Images & Video Courtesy of Soda Plains

Bandcamp: sodaplains.bandcamp.com
脸书: ~/sodaplains


供稿人: David Yen
图片与视频由Soda Plains提供

The Woman Who Fell to Earth



Corporate-owned musicians and songs dominate the airwaves in Japan. Someone like Venus Kawamura Yuki, an independent music producer and DJ, is a rare and special presence in the Japanese music scene. This Tokyo-born music muse was known as “the runaway” in Shibuya’s club scene almost two decades ago. Her parents divorced when she was three and her father took her in; but he believed that raising a child was not “a man’s job” and sent her off to live with her aunt.


Venus’ aunt was a single woman working in the dressmaking business. She introduced Venus to her favorite fashion model, Sayoko Yamaguchi, as well as some of her favorite bands, like Yellow Magic Orchestra and Plastics. Venus was immediately hooked and got sucked into the world of fashion and electronic music. Eventually Venus’ father remarried, and she was sent back to live with her father and stepmother – but after moving back, she ended up not getting along with her stepmother. Venus ran away from home at the age of 18. Wandering through the nightscape of Tokyo, she would end up in clubs and often found herself dancing the night away. “Music really got me through these hard times,” Venus said.


It was also around this time when she got the name that has stuck with her to this day. “I was in the powder room at one of these clubs. I was about to leave and someone called out to me, ‘You’re Venus!’ It was a total stranger. A beautiful foreigner.” That story immediately spread amongst her peers, and it became her nickname. “I’m not fond of it to this day, but it is the name I go by.”


Having become a regular in the local club scene, the people she hung out with started to take notice of her good taste of music and her ability to captivate people’s attention. This led to her becoming a music promoter. “I didn’t speak a word of English, but I learned by myself and started to bring techno and dance music artists from all around the world to Japan,” she says. This career path developed into other opportunities for her, and Venus eventually became a DJ, then a music producer, then a singer and writer. Venus now writes columns, novels, and lyrics for Japanese anime series theme songs, such as Naruto and Bakuman. Venus also hosts her own weekly internet radio program on block.fm.

やがて、彼女は地元のクラブシーンの常連となり、彼女の仲間達は彼女の音楽センスの良さと人々を惹きつける才能に気づき始めた。それが、彼女を音楽プロモーターにさせた切っ掛けとなる。「英語は一言も喋れなかったけど、独学で覚えて、テクノやダンスミュージックのアーティストを世界中から日本へ招聘しました。」と、彼女は言う。この進路が別のチャンスへと発展し、ヴィーナスは、DJとなり、その後、音楽プロデューサー、さらにシンガーや作家となっていった。彼女は現在、コラム、小説などを執筆する他、『Naruto -ナルト-』や『バクマン。』といった日本のアニメ番組の主題歌の作詞も手がけている。また、block.fmにて自らのインターネットラジオ番組の司会も毎週務めている。

In 2010, she opened Shibuya Oiran, a DJ bar located in her beloved city of Shibuya. Her music platform Oiran Music later launched in 2014. “Meeting these female artists led to me starting Oiran Music,” she said of her serendipitous meeting of three female artists. One of them is Sakiko Osawa, who made her debut not from Japan, but from Amsterdam. The other two artists are Mako Principal and Namacolove. Mako Principal is a painter that has worked with famous Japanese artists like Makoto Aida and has exhibited work at renowned museums such as Mori Museum. Namacolove is a visual artist that was previously known for her fascination with sea cucumbers and uniquely illustrated characters.

2010年、彼女は自身がこよなく愛する街、渋谷にDJバー『しぶや花魁』を開店した。その後2014年には音楽プラットフォームOiran Musicを開設。「女性アーティスト達との出会いがOiran Musicを始めるきっかけとなりました」と、女性アーティスト達との出会いについて語る。その中の一人、Sakiko Osawa(サキコ・オオサワ)は日本でなくアムステルダムよりデビュー。もう一組のナマコプリは、マコ・プリンシパルとナマコラブという二人のアーティストによるユニットだ。マコ・プリンシパルは、会田誠などの有名アーティストとのコラボ経験を持つ画家で、これまで森美術館といった著名な美術館で展覧会を開催している。ナマコラブは、ナマコへの愛やユニークなイラストのキャラクターで知られたビジュアルアーティストである。

After meeting Namacolove and Mako Principal at Shibuya Oiran, Venus was instantly fascinated by their voices. She proposed the idea of making a song together, and thus the “artist idol unit” Namakopuri was born. Venus brought together these two artists, both of whom have no music backgrounds, and have been creating genre-bending music ever since. Their sound is an intriguing blend of trap music, techno music, and hyper kawaii pop vocals that’s bizarrely addictive. Only time will tell what other types of genre-defying sounds will come from these talented women in the future.


Website: ~/YukiKawamura
Soundcloud: ~/Namakopuri

ウェブサイト: ~/YukiKawamura
Soundcloud: ~/Namakopuri

Contributor, Photographer & Videographer: Yasuyuki Kubota

寄稿者、カメラマン&ビデオ撮影: Yasuyuki Kubota

Viberoom Hangzhou



Viberoom is a music and nightlife event label founded by Hangzhou native DJ D’Rocc, a veteran who’s been involved the local hip-hop scene for the last 15 years, beginning with breakdancing before transitioning into DJing and organizing parties. Against the cultural backdrop of the historic city of Hangzhou, D’Rocc now brings a unique perspective by combining his understanding of traditional Chinese culture and philosophy with his respect for the origins and legacy of hip-hop. Viberoom frequently organizes nightlife events in and around the city of Hangzhou. Neocha spoke to D’Rocc about his thoughts on music, culture, and society.

Viberoom是个音乐和夜生活品牌,由杭州本土DJ D’Rocc创办。他是位拥有15年玩龄的hip-hop文化老玩家,在做DJ和组织活动派对之前, D’Rocc最初以跳街舞开始。有悖于杭州这座历史名城的文化背景,通过融合他对中国传统文化的理解,以及对hip-hop起源和传统的尊重,D’Rocc带来了一个独特的视角。Viberoom时常在杭州内外组织夜生活活动。NeochaD’Rocc就后者在音乐、文化和社会上的一些想法进行了一番对话。

Neocha: How did you get started as a DJ?

D’Rocc: When I was breakdancing, I would enter a lot of competitions, but I was never satisfied with the music there. I felt that there weren’t any good DJs in China – the music they played didn’t have emotion. It didn’t let the dancers fully express themselves, and it didn’t create a party vibe. So I would watch a lot of old hip-hop videos, and that led to me understanding the most important part of a party was the vibe. If you knew how to control the vibe, then people would have more fun, and you can host better parties and events. Personally, I’ve had the experience of listening to a song, and just by listening I’ll feel more conscious and inspired, then I’ll want to share this listening experience with others.

Neocha: 你最早是怎么开始做DJ?

D’Rocc: 以前跳的时候,我已经开始参加很多街舞比赛,在那些地方已经开始对音乐不满意,感觉那时候国内没什么好的DJ。他们放的音乐,没有很多情绪去推动,去让舞者发挥得更好,让整个气氛更像一个party。我一直看很多很多老的视频,能感觉到里面内容主要是在于整个气氛。然后如果你能调节整个气氛的话,可能这个活动,可能大家会玩得更开心,更好。我之前听到过很多好听的音乐,听了之后感觉,哇,有所启发,感觉自己变聪敏一点了。我希望让这个音乐都能被大家听到。

Neocha: Where did the inspiration for Viberoom come from?

D’Rocc: Viberoom was definitely inspired by a lot of foreign music brands and collectives. I felt that Hangzhou also really needed a space that was just for music. Before, we had an actual Viberoom space here, but now we primarily do events in different places. “Vibe” represents a kind of mood or atmosphere – a state of mind that people can sync into together. The roots of Viberoom are hip-hop, turntables, records, and sharing music. Viberoom isn’t loud, or so in your face. It is a very chill place that’s suitable for a city like Hangzhou. We need a space that’s suited to the slow and relaxed atmosphere of Hangzhou – one that allows us to uplift ourselves through a more positive lifestyle.

Neocha: Viberoom的概念是从哪儿来的?

D’Rocc: Viberoom的概念肯定是受国外的一些音乐厂牌的影响,是有这样的一个启发。但是,我觉得杭州这个城市很需要一个房间,一个音乐的房间。之前我们有一家实体店,现在主要是在不同的地方做活动。Vibe的意思就是一种气氛、一种心情,大家达到了一种感觉。这种房间的roots就是hip-hop的一些roots,有唱片,有turntable,然后有人分享音乐。不管怎么样,不是一个很吵杂,很闹的环境,而是一个很安静、很chill的环境,也很适合杭州这样的一个环境。我们在杭州本身轻松舒缓的节奏中追求一个更好的生活方式。

Neocha: What is your definition of hip-hop?

D’Rocc: Hip-hop is now mainly just pop culture. Many young people across the globe are having fun with it, but I feel like most people are just blindly following a trend or fashion. Since there are so many flashy elements to it, a lot of people will be attracted to its surface appeal. In modern society, people might think that hip-hop is getting better because more and more people are aware of it. From my perspective, it’s lost a lot of its creativity, originality, and artistry. But, when I was younger, I also didn’t understand it completely. After being involved with hip-hop for many years, I realized that it was more about a kind of lifestyle. To me, this kind of lifestyle is uplifting, optimistic, and full of positive energy. It has a spiritual side. It’s like in skateboarding, when you fall off the board, you want to get back on again because you want to improve and transcend yourself.

Neocha: 你对hip-hop的定义是什么?

D’Rocc: Hip-hop给我的感觉就是流行文化吧。全世界的年轻人都在玩,但我觉得大部分是在盲目地追求这个潮流、这个现象吧。因为这里面有太多先锋的事物、想法,所以很多年轻人想去感受这种东西吧。整个社会都认为hip-hop文化越来越好,因为大家都接受了,但是它其实失去了一些很艺术性、很原创性的东西。


Neocha: What are your thoughts on the future development of Chinese society?

D’Rocc: I feel like a civilized Chinese society will be like this: the architecture and culture will always preserve the best things from Chinese civilization and history, but these traditional elements will be incorporated into a modern technological lifestyle. This kind of culture will be very uplifting for Chinese society. Before, I’ve heard Jack Ma say this as well, that what a Chinese education lacks the most in is music, art, and athletics. When I was growing up, I felt the same way, and that most of the things I learned in school were useless. The Chinese education system is designed to create robots and obedient people. Of course, this society needs regulations, but from a far-sighted perspective, I don’t think that it’s the best way.

Neocha: 你对于中国社会未来的发展是怎么看待的?

D’Rocc: 我觉得如果是一个有文化的国家会变成这样子:所有的建筑、所有的文化都一直保留着中国最好的东西的感觉,可是这些都是融入到现代生活当中,全部都是跟世界平行的。这样的生活方式会提高中国人。因为之前看到马云也在说的,中国教育最缺少的就是音乐、美术和运动。我自己一路过来也是这种感觉。基本上,学校教的东西都是没用的,它只是把你培养成一个机器人,或者一个服从者。当然,这个社会需要有一些规则吧。但是我个人认为,从长远来看,这并不是一个非常好的现象。

Website: soulkingz.lofter.com


Contributor & Videographer: George Zhi Zhao
Images Courtesy of D’Rocc
Archive Video Footage from Born Invincible (1978), Game of Death (1978), Style Wars (1983), k-os – The Love Song (2006), Detours: An Experimental Dance Collaboration

网站: soulkingz.lofter.com


供稿人与视频摄影师: George Zhi Zhao
档案素材来自 Born Invincible (1978), Game of Death (1978), Style Wars (1983), k-os – The Love Song (2006), Detours: An Experimental Dance Collaboration

The Foxgrove

The Foxgrove is a new boutique electronic music and DJ school that opened late last year in New York City. It was created for beginner-level music lovers, who have absolutely no production skills and probably never imagined being able to make their own music. Co-founder Natalie Lam, who originally is from Hong Kong and previously had worked 20 years in the advertising industry, actually prefers to think of The Foxgrove not as a school, but more as a “music social club” or a “fine learning experience”.

The Foxgrove是一所电子音乐和DJ的精品学校,于去年年底开设于美国纽约。这间学校是为毫无制作经验,甚至可能从未想象过拥有能力制作自己的音乐的入门级音乐爱好者们所设。联合创始人Natalie Lam,这位前20年致力于广告业的原香港人,更乐于不把The Foxgrove看成一所学校,而更多是一个“音乐社交俱乐部”,或者是一个“极佳的学习体验”。



She believes that most people’s knee-jerk reaction to the idea of schools is not necessarily a positive one, but aside from the learning part, how The Foxgrove functions is unlike how traditional schools work. For both Natalie and co-founder David Maurice, creating a comfortable learning environment was really important. They decided at the beginning to get rid of the things that they didn’t like about schools, namely the “bad lighting, coldness, rigidness, discipline, (and) pressure”, and add the things that they would have liked to have had in school.

她相信,大多数人对于学校这个概念的本能反应不见得是积极的,但是除开学习部分,The Foxgrove的运作与传统学校则是大相径庭。不管是对于Natalie,还是另一位联合创始人David Maurice来说,创造一个舒适的学习环境相当重要。他们一开始就决定去除学校中他们不喜欢的东西,即“糟糕的光线,冷清,坚硬,纪律,(以及)压力”,加入他们希望一些学校有的东西。

The space of The Foxgrove was designed with “organic luxury in mind”. They used “ample wood, leather and fabric elements to create an intimate, relaxing space to offset the brand new music gear”. For Natalie, it was important that people didn’t feel intimidated by some of the challenges of having to learn and work with new technology. Some of their past students have likened the experience of attending a class at The Foxgrove to “learning to remix EDM in a spa”, while Natalie herself likes to describe it as a “boutique hotel meets recording studio”.

The Foxgrove的空间设计上应用了“有机奢华”。他们用“大量木料、皮料以及织物元素去营造一个私密放松的空间去陪衬崭新的音乐器材”。对于Natalie来说,让人们不被应用新技术所遇到的挑战吓退是很重要的。他们过去的一些学生曾将在The Foxgrove上课比作“在SPA中学习电子混曲”,而Natalie自己本人则喜欢说它是“精品酒店遇见录音工作室”。

The Foxgrove believes that the future of music in this digital age will go beyond streaming music and will also involve the democratization of music production. Natalie says, “We all love music. A hundred years ago, many people played music in their homes. It was only in the past fifty years that music was monopolized and commoditized by the record industry – music was put on a high pedestal. Music creation was reserved by the industry for the few who are ‘talented, charismatic, and connected’ in order to make massive profits.” The Foxgrove believes that with the current advancement of electronic music technology, more and more people can become the creators of music without even relying on record labels. With the technology becoming more accessible and affordable, the future of music may soon lie in the hands of music lovers and amateur producers. Natalie says, “We want to be the portal for those who never thought of touching music to get the first sweet taste.”

The Foxgrove相信在这个数码时代中,音乐的未来会超逾流媒体音乐,也将迎来音乐创作的普及化。Natalie说: “我们都爱音乐。一百年前,很多人在自己家中演奏音乐。仅在过去的五十年间,音乐就被唱片行业垄断和商业化了,音乐被高置神坛上了。音乐创作被预留给‘有才华、有魅力、有关系’的少数人以大举逐利”。The Foxgrove认为当下电子音乐技术的发展中,越来越多的人可以无需依赖音乐厂牌就能成为音乐创作人。随着技术的越来越触手可及,音乐的未来可能很快就被掌握在音乐爱好者和业余创作人的手中。Natalie说: “我们想要当一个传送门,让那些从未想过触碰音乐的人得到美好的音乐创作初体验。”

So far, The Foxgrove have had over 300 students attend their school. They are mostly young professionals looking for a new hobby or teens from high school. Their approach to classes and workshops is to provide their students with useful music education in digestible quantities that are short and sweet. There are music introduction classes that cover about 80% of the basics of music production and DJing, and there are also more advanced courses for those who are more serious. The focus is mostly on having fun, and turning the idea of music production into a mainstream hobby, like going for yoga class after work or going to catch a movie during the weekend. Similar to how Instagram and digital photography have in recent years helped democratized and popularized photography, The Foxgrove is looking to help bring music creation back into the lives of people. In the future, they are looking to expand globally to other important creative hubs, in cities such as Shanghai, Hong Kong, Beijing, and elsewhere in Europe.


迄今,The Foxgrove已有超过300个学生加入他们的学校。这些学生多数是寻求一个新爱好的年轻职业人士或高中青少年。学校的课程和研讨班,以短而精易为消化的数量,为学生们提供有用的音乐教育。这里拥有初阶课程,其包含了80%的音乐制作和DJ基础知识;也有更高阶的课程,以满足有更进一步追求的学生。这里的注重点多数还是在于享受乐趣,以及将音乐创作转化为一个更为主流的爱好,好比下班后上瑜伽课或者周末看场电影。与Instagram和数码摄影近年为摄影的普及化和流行化助力相似,The Foxgrove期望可以将音乐带回人们的生活里。他们期待着在未来可以扩展到全球其他重要的创意中心去,例如上海、北京、香港这样的城市,以及欧洲。



Contributor: Leon Yan
Video & Images Courtesy of The Foxgrove



供稿人: Leon Yan
视频与图片由The Foxgrove提供

Te To Ka

In the Kanda district in Chiyoda, Tokyo, there is a laid-back artist café and gallery space called Te To Ka.

東京都千代田区の神田に、Te To Kaという名前のくつろいだ雰囲気のアーティストカフェとギャラリースペースがあります。

The name “Te To Ka” means “Hands and Flowers” in Japanese, which as the owner Chieko Kobayashi and gallery director Atsushi Tezuka explain, indicates the café space’s dedication to handicrafts and handmade art.

Te To Ka」は、「手と花」という意味です。ギャラリーのオーナーの小林千絵子さんとディレクターの手塚敦嗣さんは、お店の名前について、「手工芸と手作りの芸術のためのカフェスペースであること」を表していると説明しています。

Formerly an old store, the space at Te To Ka now regularly hosts art workshops, small exhibitions, and local art events. In its own way, by supporting independent artists, Te To Ka wants to offer a small kind of resistance to the relentless commercialism that we encounter every day.

以前は古い店舗であったTe To Ka では、現在は芸術のワークショップ、小規模な展覧会、そして地域の芸術イベントを定期的に主催しています。独自な方法で独立した芸術家を支援することで、Te To Ka は日々私達が目にする容赦のない商業化に対するささやかな抵抗を意図しているのです。

Te To Ka is filled and decorated with vintage furniture, second-hand books, artwork, and other kinds of interesting old objects. For Chieko, there is currently an overabundance of mass-produced and cheap impersonal products in Japan, and a dearth of honest and real craftsmanship.

Te To Ka には、ビンテージ家具、古本、芸術作品やその他の古く興味深い品々がたくさん飾られています。小林さんは、現在の日本は大量生産され安く個性のない製品で溢れており、正直かつ本物である職人的な技巧(クラフトマンシップ)が不足していると感じています。

She believes that by supporting craftsmanship and rejecting crass commercialism, a community of local independent artists can come together and grow together.


As a gallery, it regularly hosts artist talks, film screenings, art exhibitions, creative workshops, live music performances, and DJ & VJ events. The space can hold up to 30 people, so it is always a small and intimate gathering at Te To Ka.

Te To Kaはギャラリーとして、芸術家のトークイベント、映画上映、美術展、創造的なワークショップ、ライブ音楽演奏、DJ VJのイベントを定期的に主催しています。Te To Kaの収容人数は、最大30人なので、常に小規模でくつろいだ集いを開催しています。

In the past, their exhibitions showed works of more well-known artists, but going forward, Te To Ka is also dedicated to helping lesser known and underrepresented local artists. The atmosphere at the café is always welcoming and friendly, and visitors can easily interact with this talented community of artists.

過去のTe To Kaの展覧会は、知名度が高い芸術家を扱うものでしたが、ゆくゆくは、知名度が低く過小評価されている地域の芸術家にも貢献します。カフェの雰囲気は、心地よく友好的です。そして、訪れる人たちは、才能のある芸術家のコミュニティーとたやすく交流することができます。

If she had to choose only three words to describe the spirit of Te To Ka, Chieko would say that it was: personal, handmade, and rough. Check out Te To Ka’s website and see what’s coming up on their calendar of events!

Te To Ka の精神を3つの言葉で表すとすると、パーソナル、手作り、そして大ざっぱであることと小林さんは言われるでしょう。Te To Ka  ウェブサイトにアクセスし、どのようなイベントが近く予定されているか見てみましょう!

2-16 Kanda-Tsukasamachi
Chiyoda-ku, Tokyo

Hours: 4pm〜11pm

Website: tetoka.jp



ウェブサイト tetoka.jp

Contributor & Photographer: Leon Yan

投稿者&カメラマン:Leon Yan

Mind Field by Hiro Ikematsu

Born in Tokyo and later raised in Hong Kong, Japanese artist Hiro Ikematsu was almost always drawn to the cinema and the world of science-fiction. Since middle school and throughout high school, he was involved with film & video production. Events later unfolded and landed him in film school in Tokyo, where he made a few short films. At the time he was doing a lot of photography, shooting for club promoters in Tokyo, and shooting fashion and artist profiles.

東京に生まれ、その後香港で育った日本人の芸術家、Ikematsu Hiro Hiro)氏は、ほぼ常に映画館とSFの世界に惹きつけられていました。中学校の頃から、高等学校を通して彼は映画とビデオの制作に関わりました。その後、東京の映画学校に入学することになり、その学校で短編映画を数本制作しました。その頃、彼は写真を多く撮影し、東京のクラブのプロモーター、ファッションや芸術家のプロフィールの写真を撮影しました。

Hiro started his photography project “Mind Field” while he was living in Tokyo. He describes it as a series of “nice, boring scenic photos with an added UFO element to it.” The project was shot over the course of a few years. “I have phases in my life where I would really get into something, then fall out of it for a while – and this was when I was obsessed with UFOs. I liked tricking people into thinking that it was a real UFO and take the piss out of their reactions.”

Hiro氏は、東京に住んでいた時に「Mind Field」という写真のプロジェクトを開始します。このプロジェクトについて、Hiro氏は「UFO の要素を加えた素敵で退屈である風景写真」のシリーズと述べています。このプロジェクトの撮影は数年に渡り行われました。「私の人生には、何かに夢中になった後に、暫くその熱が冷める時期がありました。それが、UFOに取りつかれた時でした。私は、人々を騙して本物のUFOであったと思わせ、相手の反応を見てからかうことが好きでした」。

The project started when Hiro was doing some video installations for an event. He projected a video clip that could be looped over and over, while a friend was also performing live techno music. The projections needed to fit his set so Hiro shot at an industrial-looking location and added a UFO in post-production. At the same time, Hiro took some stills on location and that’s how this photo series started.


He put the project down for a while and picked it back up intermittently when he thought it was interesting again. As Hiro doesn’t plan shoots (“they are usually done spur of the moment”), he will often take a ton of photos and then go through them again months later. From these photos came the series “Mind Field”. Hiro says, “I’ll probably do this for a long time. It will be like a life-long project. Maybe I’ll make a book at some point.”

彼は暫くの間、プロジェクトを据え置き、再び興味を取り戻した時に断続的に制作に戻りました。Hiro氏は撮影の計画を立てないため、大量の写真を撮り、数ヵ月後にそれに再び目を通すことが多いのです。そうした写真から、「Mind Field」のシリーズが出て来たのです。Hiro 氏は、「これには、長い時間がかかるだろう。生涯かかるプロジェクトのようなものになる。ある時点で本を編纂するかもしれない」と言いました。

In addition to photography and film work, Hiro also DJs under the moniker Stanley (previously as Microlab). He usually plays techno, ambient/kosmiche, and also occasionally industrial, house, disco, and new beat. “This is simply for the sake of being able to hear the music I like on big speakers.”


He promotes techno events in Shanghai under SPACE DEBRIS COMMITTEE and SPACE WAVES to bring a little bit of what he loves about the music scene in Japan to China. In the end, it’s all inherently tied into his personal fascination with UFOs and outer space.

Hiro氏は、上海に在住しています。上海では、日本と中国のシーンで気に入っているものを少し持ち込むために、SPACE DEBRIS COMMITTEE (スペースデブリ・コミティー)とSPACE WAVES (スペースウェーブ)という呼称でテクノ音楽のイベントのプロモーションも行っています。結局このイベントは、本質的にHiro 氏のUFOと宇宙スペースに惹かれる気持ちとつながっているのです。

What initially drew Hiro to Shanghai, where he is now based, was the view. He admits, “I have a soft spot for anything pertaining to Bladerunner and I definitely saw the similarities with that and the Shanghai skyline.” The very striking contrast between the old colonial-style buildings on the Bund with the epic, sleek, futuristic skyscrapers across the river is like something “straight out of science fiction”. For him, Shanghai right now is one of the most exciting places in the world to be.

Hiro 氏は、最初に上海に魅了されたものは眺めであったと認めており、「私には、ブレードランナーに関するあらゆるものに弱く、上海のスカイラインにブレードランナーと類似している点を見たのは確かです」と言いました。外灘(バンド)の古い植民地様式の建物と川をまたぐ巨大で未来的な摩天楼との劇的なコントラストは、「SF小説からそのまま出てきた」ようです。彼にとり、現在の上海は世界で最もワクワクする場所の一つであるのかも知れません。

Instagram: @hiroikematsu


Contributor: Leon Yan

Instagram: @hiroikematsu


投稿者:Leon Yan