06/29 撕裂流派界限揉搓重塑出的新产物：Soda Plains
你是否想象过，当充满未知性的新锐实验电子舞曲与饱含戏剧性的传统舞蹈艺术产生碰撞会是一番怎样的情形？
而在这种多元化前卫艺术互相发生关联的前提下，究竟要以什么样的创作思维才能贯穿不同这难以具象化的视觉/听觉元素背后之间的契合点？
6月29日，也许你能从他的作品里发现几分线索。
Soda Plains
制作人/DJ Soda Plains原名Alexis Chan，出生于香港，成长于英国与德国成熟的电子音乐氛围中并长期定居于柏林。他具有引导性的实验音乐创作思维使他的每一份作品均收获了令人意想不到的高度评价，包括2014年在Black Ocean厂牌发布的《Rushes EP》以及2015年在英国Limited sound发布的《Kickbacks》，这些作品无不凸显了Soda Plains在小众音乐领域所付出的沉淀努力与他创作架构上的独特性。
Soda Plains的制作手法似乎可以带给人从各个风格和流派之间来回穿梭的流通感 ——RA |
《Kickbacks》在Soundcloud有着不可小视的播放量，嘈杂的地下俱乐部音乐混合着冰冷的Grime旋律以及扭曲的Reggaeton鼓声加上类似于ASMR的细致音效和具有拼接感的RnB人声，这些元素调和在一起诞生出了一种不可思议的未来感 ——Mixmag |
他在2017年以个人名义独立发布的专辑《in Tongues》被称为是他的代表之作，以剧场表演作为出发点创造出了巴洛克式的戏剧性层次质感，与来自巴西的优秀舞蹈家Negroma联手合作为这张专辑注入强烈的视觉联想氛围，其中收录了10首由Soda Plains创作的单曲以及由Negroma带来的30分钟的编舞。
点击边框调出视频工具条https://v.qq.com/txp/iframe/player.html?width=500&height=375&auto=0&vid=h05040dq8va
Soda Plains＆Negroma - In Tongues
整张专辑引用了“特殊语言能力”（xenoglossy）的名词概念进行传达，表达人们对语言的感知力。2017年他与Negroma一同登上柏林3hd Festival，现场带来具有视觉突破力的舞蹈艺术与专辑内的十首作品，成功实现了对"xenoglossy"理念的完美阐述，将实验音乐在派对氛围中产生的情感具体化。带来了那些可以令人陶醉的真实情绪。
Soda Plains曾在一次采访中表示他曾试图通过把那些“不合适的”声音塞进一个固定空间里来观察是否可以通过情感和声音之间的融合来对这个空间产生更多可能性”。在一首作品中，他可以毫不费力地在几十个元素之间来回切换揉搓并延伸出新的接触点；不论是解构主义音乐, Grime, Garage还是Dancehall或Funk，以及南非嘻哈House音乐的采样片段。只要这些落到Soda Plains手里他都能以自己的方式还原出一个崭新的产物。
Soda Plains与即将在今年6月28日降临OIL演出的Sega Bodega
Soda Plains与Scintii和Dis Fig等音乐人
他如此标志性的创作特色先后为他带来了各个顶尖厂牌的注意，15年的单曲"Traiana"被收录进Astral Plane Recordings受到众多支持的《Psychotropia》专辑里，16年的"Destroyment"则是被收入到Her Records厂牌的第四期厂牌发行合辑中。
而最让人惊讶的则是他在2016年下旬发布的双曲EP《She Has All Kinds of Temperatures / Rodeo》，其中单曲"Rodeo"更是被奉为2016年最值得在Club播放的作品之一。两首作品融合大量中东音乐、巴尔干音乐和弦乐元素；从鼓点音乐的厚重品质贯穿他独一无二的创新理念，两者结合以一种全新的姿态进行展现。
点击边框调出视频工具条https://v.qq.com/txp/iframe/player.html?width=500&height=375&auto=0&vid=u0399c7sxgfSoda Plains - 《She Has All Kinds of Temperatures / Rodeo》
Soda Plains - 《Rodeo》
单曲"Rodeo"被Fact评为2016年最值得在Club播放的25首单曲之一
而在舞台方面，Soda Plains这些不断在国际各个大型音乐节和知名俱乐部留下脚印，他出众的现场混音功底似乎的每一次都能赋予舞池难以预测的氛围碰撞感。
点击边框调出视频工具条https://v.qq.com/txp/iframe/player.html?width=500&height=375&auto=0&vid=j0885lwz35lSoda Plains Boiler Room Berlin DJ Set 2016
2015年在CTM呈现派对
2016年在OHM Berlin带来表演
2017年在伦敦Bala Club
远方属于远方的人2018年在CTM与NI联合呈现活动
去年，不停在音乐旅程上思考探索的Soda Plains发布了他具有强烈自我意识的Mixtape《Reconcile》，包含了7首有异于过去作品风格以全新概念投入创作的具有感染力的全新单曲；Soda Plains的创作特性不断发生突破性的演变，它拒绝轻易进入被冠以"一成不变"的“前卫”电子音乐领域，只是以Soda Plains式的旋律组合和声音质感往更多具有可能性的未来主义俱乐部舞曲空间进发。
Soda Plains - 《Reconcile》
https://soundcloud.com/sodaplains/sets/reconcile-1
Raised in Hong Kong and now based in Berlin, Alexis Chan produces music under the name of Soda Plains. About once a year, he’s released EPs that have earned him critical acclaim, including Rushes on the conceptually driven, Finnish-run Black Ocean in 2014, and Kickbacks on London’s Liminal Sounds, in 2015. His latest offering is the full-length, self-released album In Tongues. Even within Chan’s niche realm of esoteric experimental music, his practice is singular. The Soda Plains sound is often described as “baroque,” marked by a rapid layering of precise, detailed phrases, heavy in harpsichords and strings.
The baroque of In Tongues, comprising ten unbearably lush set pieces, goes further. On his new album, Chan displays his dizzying facility as an electronic producer, composing and sculpting a sonic architecture through obsessive editing of disparate materials. He manages to stage and crystallize the sublimity that experimental music generates inside the club, its brutal, transformative emotions. In Tongues recaptures those heady feelings, which, leaving the party, dissipate like smoke in the night air outside.
In an interview, Chan says he attempts to expand “emotional and sonic possibility” through jamming “inappropriate” sounds into one space. Within a single track, he can move effortlessly between dozens of referents: deconstructed grime and garage, slices of dancehall, funk, and calypso, and in places the pitched-down, muted undertow of kwaito, a South African hybrid of hip-hop and house. Chan is careful to note that he has no one seminal influence, though he eventually demurs that his listening “does veer toward classical music, Balkan, and Middle Eastern music.”
His production is flawless and tightly controlled, which keeps this album from spinning out into a self-indulgent chaos of sampling. In Tongues scores a Gothic hyperreal, a slightly demented, frantic, and sensual world. Listening, I feel an unmoored nostalgia for settings that I have only ambiently absorbed through opera and theater. In writing about the novel, Henry James suggested that the creator’s primary work is to take the reader by the hand into the “house” of his fiction, to look out of the windows over the human scene. In Tongues channels this same imperative, evoking a sense of walking through elegant rooms in a Transylvanian mansion. Then, led by Chan, a feeling of gazing out its windows onto a bleak moor, or at a séance, or even a ritual dance of masked figures. The listener gets brief, vertiginous glimpses down the sides of chthonic red cliffs.
Passages sound smudged at points, as though a tape reel has been accidentally burned. There are gem-like hints of the bittersweet, fantastical soundtracks of childhood, such as the Zelda videogame scores, composed by Koji Kondo, or those of Hayao Miyazaki films, like Spirited Away. A MIDI pan flute spikes across our skin in the track “Porcelain.” The lachrymose “Rotina” conjures up a stately masque gone wrong. “Silk Bind,” the album’s fourth entry, sinks warning arpeggios underwater, alongside subsonic frequencies that threaten to pull one down into the deep sea gloaming. “I am looking to push the drama, the limits of drama a bit more, without being ironic,” Chan tells me. “I wanted to drag the listener from one sort of dramatic environment to another.”
Chan wears and discards clashing sonic costumes, without privileging any one. In doing so, he suggests the vital and equal dramatic capacity of each source. Ethereal Tibetan throat song, a raw, club-happy bass line, and the gestural scratches of a skipping record needle all unfold on the same plane. “It’s a recurring idea for me to try to quickly normalize out-of-place structures and sounds in songs and create a new internal logic,” Chan has said. Writing, he confidently presents one emotional portrait (conveyed through sound), only to erase it in the next breath for a more uncanny one. We follow him as he sifts through jarring melodic hooks and reconciles them, to build a little system. This staged reconciliation is a good metaphor for how we learn to navigate chaos, intuitively creating a set of acceptable meanings out of a flood of alienating, decontextualized influences.
Chan’s relentless sincerity sets him apart from other artists in Berlin, who are happy to sell their scrappy, tongue-in-cheek “lifestyle” aesthetic to global brands like Nike or Louis Vuitton. He consciously avoids visibility. In fact, when I first met Chan in Berlin this past February, I failed to identify the thoughtful, affable, and very tall person in a red sweatshirt as Soda Plains. I had never once seen a picture of him and had mentally substituted Chan with a Roma dancer, Cristina Pucean, who appears in his “Æthelflæd” music video. This near-anonymity is important. Soda Plains’ work is evolving and complex, and it rejects easy slotting into a fickle “avant-garde” electronic music scene. This makes for a productive and highly unusual critical space, in which we can relish the beauty and process of careful, considered composition.
Warmchainss
身处深圳地下音乐场景核心的DJ及电子音乐资讯编辑WARMCHAINSS是一团冰冷与温暖的矛盾体，擅长在DJ set中以世界音乐为材料，在俱乐部舞池中营造出她特有的悲伤且温柔的感情加上愤怒的情绪，给人一种无法言喻的感触。她曾为瑞士1.1 Gallery的合作艺术项目[ SZSZSZSZSZSZ ]制作 Mixtape，2019年在香港联合电台 Hong Kong Community Radio 开展了新的电台项目 (b2b only) : Speed Sick!。同年与Tygapaw、Subez、Yeti等受邀来自上海的LGBTQI+ 组织NVSHU在香港Art Basel Week举办的座谈会、DJ workshop和电台节目。在电子音乐俱乐部的工作经历也令她有着极为广阔的音乐视野，吸收着来自全世界的音乐能量，形成了她独一无二的风格。
Raised in Hong Kong and now based in Berlin, Alexis Chan produces music under the name of Soda Plains. About once a year, he’s released EPs that have earned him critical acclaim, including Rushes on the conceptually driven, Finnish-run Black Ocean in 2014, and Kickbacks on London’s Liminal Sounds, in 2015. His latest offering is the full-length, self-released album In Tongues. Even within Chan’s niche realm of esoteric experimental music, his practice is singular. The Soda Plains sound is often described as “baroque,” marked by a rapid layering of precise, detailed phrases, heavy in harpsichords and strings.
The baroque of In Tongues, comprising ten unbearably lush set pieces, goes further. On his new album, Chan displays his dizzying facility as an electronic producer, composing and sculpting a sonic architecture through obsessive editing of disparate materials. He manages to stage and crystallize the sublimity that experimental music generates inside the club, its brutal, transformative emotions. In Tongues recaptures those heady feelings, which, leaving the party, dissipate like smoke in the night air outside.
In an interview, Chan says he attempts to expand “emotional and sonic possibility” through jamming “inappropriate” sounds into one space. Within a single track, he can move effortlessly between dozens of referents: deconstructed grime and garage, slices of dancehall, funk, and calypso, and in places the pitched-down, muted undertow of kwaito, a South African hybrid of hip-hop and house. Chan is careful to note that he has no one seminal influence, though he eventually demurs that his listening “does veer toward classical music, Balkan, and Middle Eastern music.”
His production is flawless and tightly controlled, which keeps this album from spinning out into a self-indulgent chaos of sampling. In Tongues scores a Gothic hyperreal, a slightly demented, frantic, and sensual world. Listening, I feel an unmoored nostalgia for settings that I have only ambiently absorbed through opera and theater. In writing about the novel, Henry James suggested that the creator’s primary work is to take the reader by the hand into the “house” of his fiction, to look out of the windows over the human scene. In Tongues channels this same imperative, evoking a sense of walking through elegant rooms in a Transylvanian mansion. Then, led by Chan, a feeling of gazing out its windows onto a bleak moor, or at a séance, or even a ritual dance of masked figures. The listener gets brief, vertiginous glimpses down the sides of chthonic red cliffs.
Passages sound smudged at points, as though a tape reel has been accidentally burned. There are gem-like hints of the bittersweet, fantastical soundtracks of childhood, such as the Zelda videogame scores, composed by Koji Kondo, or those of Hayao Miyazaki films, like Spirited Away. A MIDI pan flute spikes across our skin in the track “Porcelain.” The lachrymose “Rotina” conjures up a stately masque gone wrong. “Silk Bind,” the album’s fourth entry, sinks warning arpeggios underwater, alongside subsonic frequencies that threaten to pull one down into the deep sea gloaming. “I am looking to push the drama, the limits of drama a bit more, without being ironic,” Chan tells me. “I wanted to drag the listener from one sort of dramatic environment to another.”
Chan wears and discards clashing sonic costumes, without privileging any one. In doing so, he suggests the vital and equal dramatic capacity of each source. Ethereal Tibetan throat song, a raw, club-happy bass line, and the gestural scratches of a skipping record needle all unfold on the same plane. “It’s a recurring idea for me to try to quickly normalize out-of-place structures and sounds in songs and create a new internal logic,” Chan has said. Writing, he confidently presents one emotional portrait (conveyed through sound), only to erase it in the next breath for a more uncanny one. We follow him as he sifts through jarring melodic hooks and reconciles them, to build a little system. This staged reconciliation is a good metaphor for how we learn to navigate chaos, intuitively creating a set of acceptable meanings out of a flood of alienating, decontextualized influences.
Chan’s relentless sincerity sets him apart from other artists in Berlin, who are happy to sell their scrappy, tongue-in-cheek “lifestyle” aesthetic to global brands like Nike or Louis Vuitton. He consciously avoids visibility. In fact, when I first met Chan in Berlin this past February, I failed to identify the thoughtful, affable, and very tall person in a red sweatshirt as Soda Plains. I had never once seen a picture of him and had mentally substituted Chan with a Roma dancer, Cristina Pucean, who appears in his “Æthelflæd” music video. This near-anonymity is important. Soda Plains’ work is evolving and complex, and it rejects easy slotting into a fickle “avant-garde” electronic music scene. This makes for a productive and highly unusual critical space, in which we can relish the beauty and process of careful, considered composition.
Yangyang
Yangyang18岁出道，号称永远的美少女，于后期踏上电子音乐之路。一发不可收拾最后变成了一只猫，喵～
她的音乐理念基于让音乐回归跳舞的本质，多样性的曲风编排将给你带来与众不同的派对体验。
06/29 OIL pres. Soda Plains
06月29日 星期六
Jun 9th Sat.
22：00 - late
Soda Plains
Warmchainss
Yangyang
小夫
247
秀动
预售 Advance 60 RMB
现场(00:00前) Door 80 RMB
现场(00:00后) Door 100 RMB
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未成年人不可进入
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UPCOMING
Slide up 👇
06/18 MALA Pres. XXXTENTACION一周年纪念深圳站
06/19 Sunkissed Souls Pres. 'Juneteenth Celebration'
06/20 AGEUSIA x TURMOIL Pres. RP Boo
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06/22 Silicon Kure x Say Yes Pres. Delta Funktionen
+ Cardopusher
06/23 广深DNB大混斗 ChAos!嘈! x D1SG0V3RNMENT
06/28 M-LAB Pres. Sega Bodega
06/29(早场) PUBLIC Pres. Eton惡童
06/29(晚场) OIL Pres. Soda Plains
6月日历
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从2017年11月试业到目前为止，OIL呈现过的艺人有: Mechatok, Swindle, Kode9, Nightwave, Air Max’97, Canblaster, Howie Lee, Tzusing, Jacques Greene, Zutzut, Murlo, Mala, Mina, Jesse Osborne-Lanthier, TSVI+Wallwork，Nina Las Vegas，IVVVO，Florentino，Moro，False Witness，Mirnor Science，King Doudou; 与SVBKVLT联合呈现的Prettybwoy + Swimful, 与NOTCH联合呈现的SHAO和TM404, 与Absurd Trax联合呈现的Coucou Chloe；与 MALA 联合带来 Gundam，与ALL联手呈现 HOWELL + MIIIN, 与 Roaringwild 联合呈现 Ziúr + Abyss X；OIL x fatsKINI 共同呈现 Akito + Goro，OIL 与 Vextra 呈现 Swing Ting。
Say Yes 带来的Hiroshi Watanabe aka Kaito, Yuka, Dasha Redkina, Matrixxman, BNJMN，Rhyw，Broken English Club,Barker 和 Chris SSG；Unchained带来的Fractale，the Prototypes、DJ SS 和 Madam X，Dbridge, Arkaik，Total Science，Sinistarr 和 Subp Yao，Detached带来的Jozef K和Yang Bing，UNTZ带来的HWA aka Elvis.T，TURMOIL 呈现 Bambii, Suicideyear。AsianDopeBoys: ADB48带来的Aisha Devi，Zone Unknown, Shwefelgelb+Dis Fig; Bass Music China带来的Mala; dART呈现的Answer Code Request; Dopeness带来的Evil Needle，Apocalyptic Fantasies带来的Craxxxmurf + Hyph11E + Scintii + Asian Eyez，Physical Therapy; 乐极生Bass带来的Joe Nice, Truth；Konekt Asia 带来Machinewoman，还与瑞士文化基金会带来的Opuswerk, 与Silk联合呈现的Slackk; FutureMix带来的Mijk Van Dijk和MHP; 欧盟和非刻文化呈现EUPHORIA, 带来了DJ Firmeza, DJ Bootsie, Dinamarca, Retina Set；BRONZ 呈现: KETTAMA; Heavy HK呈现Symbiz; 赤瞳音乐带来Bulma, 理化兄弟; Beatween 和 Rainbow Disco Club联合呈现的Ata; Cutt Records, Say Yes和Silicon Kure三方联合呈现nthng，Say Yes 与Silicon Kure 联合呈现Tobias. , SVBKVLT呈现 Osheyack；Absurd Trax 与 Silicon Kure 联合呈现Sulumi+Ptwiggs；Vextra 带来Goth-Trad nn, MAM呈现Jack De Marseille，Black Asteroid，大福唱片带来 33EMYBW,Gooooose，王长存+DUDU，RMBit，MZN9 X Silicon Kure 呈现 MACROSS 82-99, The Neighbourhood 带来 Double Clapperz + ONJUICY，TAPE 呈现 Flamingosis，Catching Flies，SEVEN ENTERTAINMENT 带来 DJ Krush 和 DJ Kentaro，Lure饵呈现Former，Abusurd Trax带来Organ Tapes, Yayoyanoh, 破地狱, Tzekin。以及Genome6.66Mbp、FunctionLab、元炁、Yeti、Typhoon 8、BMC、XXX Gallery、Social Room、Cakeshop、Prajnasonic、MGSG x Shade Seoul，基立下道，The Bond，Public，也各自带来了活动。
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