Li Chin Sung / W. Dafeldecker

biegungen36:

Dickson Dee aka Li Chin Sung (Hong Kong) - devices
Werner Dafeldecker (Vienna) - devices

Li Chin Sung

werner dafeldecker

please scroll down for biographical notes on Dickson Dee and Werner Dafeldecker

Dickson Dee (aka Li Chin Sung, Dj Dee, PNF) is a Hong Kong experimental music artist with a wide range of creative styles such as industrial noise, experimental electronic, avantgarde, cut n’paste just to name a few.

Dickson Dee was born in January 1969 at Putian, Fujian, China and moved to Hong Kong at his early childhood. In high school days, he started to take a fancy to independent music and was deeply influenced by the British independent music of the 80s. Since then, he began to collect records. As his listening experience increased, his liking for music broadened. Music such as classical, jazz, industrial noise, avantgarde had all become his target. In the meantime, he had taken some part-time jobs that were related to music like sales or buyer at record shops, magazine writer etc.

In early 90s, he started his music career and formed the band PNF, also participated in the creation of Illuminated 666. During this period, Dickson released several albums under his band and individual aliases. He then joined the Composers and Authors Society of Hong Kong Ltd. (known as CASH) and became one of the important experimental music artists in Hong Kong.

In 1990, Hong Kong artist, Wei, formed the band Illuminated 666 and Dickson had some participation in it. Its style was mainly industrial noise and the band name was derived from the track of Throbbing Gristle, one of the influential industrial noise band. Dickson served as the percussionist and electronic equipment player of the band. In 1992, I666 released its debut album “Crème of First Coming” under Hong Kong independent record company, Sound Factory. Then after, the leaving of Wei put a stop to the band’s activity until now.

PNF, on the other hand, which was also formed in 1990, was an experimental music band led by Dickson. Besides from himself, other members were all unstable. Participating artists included member of the disbanded Taiwan experimental group, Zero and Sound Liberation Organization, Illuminated 666 and many others. In 1991, the band made its debut public performance. In 1993, PNF played as the guest artist in the show of the famous Japanese experimental musician, Otomo Yoshihide, at the Amoeba Club in Hong Kong. In 1994, PNF released its debut album “PNF-1” under Sound Factory, which was a collaboration work with a comic creation group producing music for its comic. The album was released in cassette and comic book format with limited edition of 38 sets and had been out of print for a long time. Since its formation, PNF has collaborated with different art groups creating music for their productions. In 2003, PNF would be releasing a new album “PNF-4”, a group improvisation live recording in the studio. The musical style of PNF was very variable and flexible. It employed different musical styles such as industrial noise, sampling cut n’paste etc according to the needs of its collaborating partner.

In 1996, Dickson began to use Li Chin Sung as his alias, releasing solo works of cut n’paste, experimental and avantgarde music. Since then, the alias became his main artist name. In the same year, he released his debut solo album “PAST” under the name Li Chin Sung in Tzadik (USA), a label set up by John Zorn, the renowned American pioneer musician. The album was a collection of his works from 1992 to 1996. It was then rated by , the popular experimental music magazine in UK, as the fifth album of the 20 most significant album chart in 1996.

Between 1998 and 1999, Dickson was invited to participate in the music production of Chinese big opera “Oomolangma song & dance opera”. He went to Tibet several times for sampling. With the support of the local government, he successfully obtained a great deal of primitive sound materials of Tibetan and Lamaism music. Moreover, he also collaborated extensively with local artists. He made use of the materials he gathered, and combined them with the traditional Tibetan folk music. This had gained recognition and positive response from the local government, and made a deep impact on the production of the local folk music. Consequently, both sides built up a long term working relationship, and up to the present, still maintain several music collaboration projects. Upon returning to Hong Kong, Dickson made some arrangement with the materials and decided to release all the related music production under the name Li Chin Sung.

Inspired by the first collaboration, Dickson was again invited to Mongolia in 2001 to work with the local artists under the same condition. The trip was highly regarded by the Mongolian government. Besides obtaining a large number of Mongolian music sound materials, he also went farther into the Mongolian countryside twice to gather folk music materials. In addition, he also collaborated with The National Traditional Folk Music Dance Troupe of Mongolia. In the 2 months of working together, Dickson gradually attained a mutual understanding with Mongolian renowned artists including the prima morinhuur of the Troupe, M.Burged Baatar, and the prima throat singer also the head of The Mongolian Throat Song Union, Zulsar Z. They developed a new idea of combining improvisation and turntable cut ‘n’ paste technique with morinhuur and throat singing.

In November 2001, Dickson returned to Hong Kong and started to arrange the music materials he collected from Mongolia. He hoped to produce new music by adopting improvisation technique in blending the sampling from the Mongolian Traditional Folk Music with experimental/electronic music. Part of the work has been completed now, and would be released under the name Li Chin Sung. Furthermore, he remains in good contact with the two Mongolian artists, and formed Li Chin Sung Trio with Zulsar Z & M.Burged Baatar, hoping to adopt LIVE performance style in completing the new approach of mixing Mongolian folk music improvisation, cut ‘n’ paste, and experimental/electronic music. In between August and September of 2002, Dickson revisited Mongolia. In October, Li Chin Sung Trio toured around Mainland China, Taiwan, and Macau.

In 1995, before Dickson released his first album under Tzadik, the label leading man John Zorn hoped that Dickson could continue develop the sampling technique, and derived an alias “Dj Dee” from his name. Since then, Dj Dee had become a new alias for Dickson in his creation world of electronic music.

The style of Dj Dee was developed from and based on sampling cut n’ paste technique with electronic equipment as the main device. Although concentrating on electronic music, his musical style was rather extensive. Every kind of dancing music, ambient, sampling cut n’ paste, experimental noise could be heard in his music. He had started his creation in 1995, but it’s until 2002 that he officially released his first album “Sunday”. As revealed by himself, it was a creative project with seven albums in the series representing days of the week with one specific day as the album name. The tracks in the albums were named after certain time, expressing the mood of people in that specific time of the day.

Dickson is an active artist and at the same time a loving father. His newly-formed SKD group is joined by his two daughters. It has already accumulated over 60 minutes of work. In addition to the above, he also at times participated in other creation. For example, the mixing work for Ground Zero’s album “Conflagration”, and releasing work under Amoebic, the label of Sachiko M, the Japanese female experimental artist.

In 1992, besides from music creation, Dickson set up his own label, Dicksonia Audio. Nevertheless, due to some personal reasons, it’s until 2002 that the label officially put out its first release, Dj Dee “Sunday”. As said by Dickson, all productions of Dj Dee, PNF, Li Chin Sung would now be released under this label.

Dickson also act as producer participating in the album production of artists from China, Japan, Taiwan, and Hong Kong. This includes eight albums of Otomo Yoshihide released under Noise Asia, and approximately 40 albums from artists in China, Hong Kong, Taiwan and Germany. Furthermore, he is conducting a music research on Tibetan music with Tibetan music scholar, ÆÊÆ·¶±™N, hoping to make a documentation on the original features of Tibet with the help of music, writing, photograph, and video.

Recently, Dickson is working on a new duo CD project with Zbigniew Karkowski, the avantgarde electronic musician from Poland, which will be released in the near future. In the meantime, he formed a new band with Yoshida Tatsuya (Ruins) and Paul Lemos (Controlled Bleeding). Its debut album has been completed and will also be released soon. Moreover, the band is scheduling a China tour sometime next year.

werner dafeldecker

freelance musician, composer and producer. concentrating on improvisation, electronic music and cross-over projects. a longtime sound research, pure acoustic research, and the creation of a personal sound archive are the basis for his work. co founder of durian records.

recordings:
1987, ant.ort, extraplatte 63 (lp) ton art
1989, zu, hat art 6034 ton art
1990, vrhunec, extraplatte 128 with walter malli
1991, mal vu. mal dit, hat art 6088
1991, comprovisations I-X, extraplatte 166 with nagl/stangl/varner/rothenberg
1992, markknochen wälzt eisscholle, extraplatte 152 with b.stangl/m. moser.
1992, hot burrito #2, extraplatte 186 with malli/chadbourne.
1993/94, polwechsel, random acoustics ra009/hat[now]art 112
1993/94, loose music, ra015 burkhard stangl
1994, bogengänge, durian 099 with uli fussenegger
http://www.durian.at/content_b/cover099b.html
1994, diphtongs, durian 005 recordings of a virtual group
http://www.durian.at/content_b/cover005b.html
1996, stenimals, plag dich nicht 007 shabotinski
http://plagdichnicht.sil.at/shabo.php3
1998, polwechsel 2, hat[now]art 112
http://www.inkblotmagazine.com/rev-archive/Polwechsel.htm
1998, dafeldecker/kurzmann/fennesz/o'rourke/drumm/siewert, charhizma 002
http://www.charhizma.com/quart/index.html
1999, (b)ypass (k)ill, plag dich nicht/charhizma 012 shabotinski
http://www.charhizma.com/shabo/index.html
1999, printer durian 011-2. with dieb13/fussenegger
http://www.durian.at/content_b/cover011b.html
2000, comfort 2000 charhizma 007 with siewert/horvitz/hinteregger/buck
http://www.charhizma.com/komfort2000/index.html
2000, venusmond, oper als topos, quell records 111 burkhard stangl

2000, aluminium, erstwhile 009. with dean roberts
http://www.erstwhilerecords.com/catalog/009.asp
2001, eis 9, grob 319, with boris hegenbart
http://www.churchofgrob.com/Churchofgrob/CATALOG/Grob319/grob319.html
2001, polwechsel 3, durian 016
http://www.durian.at/content_b/cover016b.html
2002, phonographics 1-5 durian 017 with fennesz/stangl/siewert
http://www.durian.at/content_b/cover017b.html
2002, sssd - home grob 431 with sugimoto/stangl/siewert
http://www.churchofgrob.com/Churchofgrob/CATALOG/Grob431/grob431.html
2002, my dear mummy, charhizma 017 otomo yoshihide
http://www.charhizma.com/mira/
2002, wrapped islands polwechsel/fennesz erstwhile 023
http://www.erstwhilerecords.com/catalog/023.asp
2003, absinth, grob 431 with hautzinger/sachicko m/tilbury
http://www.churchofgrob.com/Churchofgrob/CATALOG/Grob435/grob435.html
2003, in the shadow of ali bengali, form&function patrick pulsinger
2003, dafeldecker/kurzmann/drumm/dieb13/noetinger/eRikm, charhizma 020
http://www.charhizma.com/gruen/
2003, lichtgeschwindigkeit, lang/dafeldecker grob 541
http://www.churchofgrob.com/Churchofgrob/CATALOG/Grob541/grob541.html
2004, welcome tourist, morr music 041/charhizma025 bernhard fleischmann http://www.charhizma.com/tourist/