Saturday 17 November 2018, 7.30pm
Great double-header from Chinabot – a platform and collective created to change the dialogue surrounding Asian music.
"In 2017, a digital diaspora community, a multi-disciplinary label and network of Asian artists decided to cooperate on a new way to collect and promote exciting Asian music. We want to show a slice of what we like, the cultures we come from and our own ideas. We’re an online community and a virtual home celebrating the music that falls between the gaps -- a place for adventurous listening.
Chinabot is positioned at the junction point between the influence of Asian music on contemporary/traditional sounds, music outside the mainstream and the development of experimentation. We work with composers, sound artists, improvisers and musicians to develop projects that rearrange the furniture of the musical world. We want to question our assumptions about what music is and where it can go."
"A stellar beginning to a new project well worth keeping an eye on as it gathers speed" – The Quietus
LAFIDKI is a London-based sound/visual artist, and founder of Chinabot, a platform and collective created to change the dialogue surrounding Asian music. LAFIDKI is the moniker of Saphy Vong, who has been releasing experimental electronic since 2008. He was born in a refugee camp in Phanat Nikhon (Thailand) to Cambodian refugee parents who fled Pol Pot's regime and was raised in France. He released his EP ‘Absynthax’ via Orange Milk records. He's a sound artist and conceptual collagist who performs around the world. His music is an confluence of ideas, synthesising multiple underrepresented histories, geographies, musical genres and cultural signifiers into compelling, colourful sonic material that packs contemporaneous dancefloor weight.
LAFIDKI has played at a number of international festivals: Donau Festival 2018 (Krems), VIA 2012 (Pittsburgh), Nuit blanche - French Institute 2016 (Kyoto/Japan), represented Cambodia at Tallinn Music Week. He has shared stage with Hype Williams, KXP, Tzusing, James Ferraro, Nightmares on Wax, Molly Nilsson, Andy Stott, Varg, Tropic of Cancer, Laurel Halo, Amnesia Scanner, Faka and James Holden.
SABIWA is an experimental electronic producer and performer from 未知. Her first approach to music was inside an aquarium; she started playing Cello at the age of 12, developing later a deep interest in electronic music, sound designed and field recording. She produces, records and dissects sounds from natural and synthetic sources, making them interact with complex texture and abstract patterns, also using her voice processed as guiding path in her compositions. She is also curating the live visual for her performances. She composed soundtracks for art performances and documentaries, collaborating with numerous artists and musicians. She is actually working in between Berlin, Taipei and Torino as audio-visual producer.
She's coming back to Cafe OTO for premiering her new album.
”Taiwanese performance artist Sabiwa uses warping bass, brittle beats, and shifting sample layers as the base for her charismatic vocals.” Bandcamp
“She interprets reincarnation through bass heavy rhythms, dissected sound art, and intense vocal gymnastics." XLR8R
"Dipping deeper into a bizarre soundworld of animalistic vocals and minimal thudding dubstep" Spools Out
Li Yilei is a London-based multi-disciplinary artist and composer working across performance, text, theatre, sculpture, and installation. With a background in fine art and sound art, their body of work finds profundity in subtlety and the banal, translated into abstracted sonic and visual languages. Li’s body of work and musical releases reflect their practice of alternative modes of listening and existence, as well as the contemplation ofphenomena.
Their musical work, which polarises between tranquil and minimalist, and abrasive and harsh, frequently incorporates found objects, theremins, tapes, field recordings, modular synths, and the guqin. Raised by a Buddhist nun, Li’s work is strongly influenced by the Eastern ideologies of emptiness, zen, and transience. Being on the autistic spectrum, Li’s sensory processing issues and neurodivergent perceptions significantly informs their creative process, and their work can be perceived as a product of this navigation.
Since 2017, Li has been performing internationally and releasing music, as well as composing and producing for theatre. Their work has been showcased and performed in museums, concert halls, and international festivals, as well as reviewed/featured in various digital and print publications.
Jaeho Hwang is a London-based, South Korean composer and visual artist inspired by the Buddhist concept of impermanent selfhood, his first EP combines dark, industrial club beats with traditional Korean instruments and samples. He explores his sense of identity in the digital age as refracted through the Buddhist concept of anatta, or non-self—the belief that there is no unchanging, permanent soul or essence in living beings.
Jaeho draws from the dark, stuttering beats from London’s experimental club scene—harsh industrial sounds recall no-wave’s minimalist deconstruction. His use of traditional Korean instruments within this context, like the piri bamboo flute, or the stringed kayagum, recast traditional textures into modern form. On Sad Relationship, Jaeho samples the famous 80s South Korean pop ballad of the same name. The song glitches like a memory, warped and torn by an electronic tumult, and haunted by the original’s sentimental melody.
He is a member of Chinabot that is a platform and collective created to change the dialogue surrounding Asian music. And he has been hosting his own radio show on 10Twenty Radio and Internet Public Radio. His show takes you on a journey through a range of genres from old Korean music to Experimental to Avant-Garde to Techno to Electro to Pop.