The second of the Machine Bass recording series, MB-S2-600/10 is a record in an edition of 1. 600 minutes long, it is split into 10 equal parts, 1 hour each. Each of these cassettes is one of those parts. The parts, without chronology, are identifiable only by the unique data rendered cover of each cassette.

No input noise from Taiwan. "Activist and underground young pioneer from Taipei scene, Xu uses chaotic frequency manipulation and carefully textured post-apocalyptic soundscape. "Formless" includes his full live performance recording at Cafe OTO in 2016.""Born in 1997, Xu set out performing and producing harsh noise under the alias “Berserk” since 2015. Initially, he focused on playing rough feedback from handmade instruments and synthesizers before carrying on specializes in no-input effects. Influenced by Japanoise, Death Metal, Hardcore Punk, his live performance is known for highly intense physical energy and massive volume. In 2017, he turned to combining various equipments including no-input mixer and shortwave radio to session with Free Improvisation musicians and folk narrator. His works as Chia-Chun Xu emphasize more on the interaction between sounds, space, and the others. Besides working on his projects, he also runs his music label “MKUltra Productions”, promoting Taiwanese and worldwide noise and experimental musicians." --- Semi-transparent pro-cassette and tape case, insert printed with special satin paper, limited to 133 copies.Side A recorded at Senko Issha Records, TaipeiSibe B recorded live at Cafe Oto, London, 2016.5.27No-input Electronics / Vocal / Recording / Mixing / Mastering: 徐嘉駿 Chia-Chun XuArtwork (Film destroying): Jesse TsengLayout: 若潭 ruò tán

Machine Bass - Series 1The first of the Machine Bass recording series, MB-S1-900/45 is a record in an edition of 1. 900 minutes long, it is split into 45 equal parts, 20 minutes each. Each of these cassette is one of those parts. The parts, without chronology, are identifiable only by the unique data rendered cover of each cassette

"A classically trained Chinese bamboo flutist, Lao Dan picked up the saxophone again around 2013 as he went wildly astray in the world of avant-garde jazz and free improvisation. While demonstrating an ever-growing ability to deliver explosive force and intensity in his free playing, Lao Dan keeps a brutal honesty in his approach to the instrument. He plays ‘jazz’ as what it is, not what it’s supposed to be. Navigating constantly between the East and the West, Lao Dan embraces a unique aesthetics which fuses all his past influences into a voice of glorious mayhem and sheer zaniness.Recorded in June 2019, this is a solo set in which two instruments – tenor saxophone and Zheng, also known as the Chinese zither – were played successively and simultaneously by hands and feet. The recording was made in one go with no overdub or effect added. Lao Dan never learned to play the Zheng properly before this very first attempt. As a result, he didn’t struggle at all to play it in an awkward way, while with the saxophone he did, as always, try very hard to do that.The cover art, created by Shenzhen-based artist Tiemei, is a portrait of Shennong, the Deity of medicine and agriculture in ancient Chinese mythology. The three tracks in Chinese Medicine are named after three species of herb each believed to have unique medicinal properties. It is our responsibility to remind you to take them with extra caution. In Chinese medicine, after all, every drug is a thirty-percent poison."