Melding elements of electronic music with traditional Chinese/Taiwanese instrumental lines and vocals, Code (Wu Kai-fan, 吳鎧帆) is exploding onto the international dance music scene with his unique sound. His music has been described as “the latest techno sounds out of Asia,” and his first EP, Gate (閘門), on Australian record label Elektrax Progressive, will be released on Sept. 10th.
Vinyl Word: What were your earliest musical influences?
Code: I spent most of my childhood in Taitung, and my great-grandfather used to teach me to play the violin when I lived there. I wasn’t really interested in it at that time though, because he was very strict. But now I think the biggest influence for me definitely comes from my great-grandpa.
VW: How did you start making music?
Code: One of my uncles used to be a DJ so he influenced me and I started listening to electronic music in 1998, and then I bought my own DJ gear in 2002. A couple of years later, a friend gave me a software program called Fruity Loops and I’ve been hooked on making music ever since.
VW: What kinds of music do you spin/make?
Code: I play mostly progressive and tech house these days. I was into trance in the beginning but then it just got boring. The album Asia River, consisting of my earlier works, is more on the lounge music tip. The Gate EP, my most recent production, is totally dance-floor oriented. I like to use traditional Chinese instruments such as the erhu (二胡), guzheng (zither, 古箏), flute and pipa (琵琶). In the meantime, I’m also experimenting with Taiwanese Aboriginal music.
VW: You were recently interviewed on an Aboriginal TV program. Are you Aborigine?
Code: My great-grandmother was an Aborigine. I incorporate elements of traditional Amei tribe music into some of my music, so they invited me to be on the show. When they approached me, I told them I might not be qualified because I’m not 100 percent Aboriginal, but they said, “it’s the fact that you identify with our culture that counts!”
VW: What was the process of making the full-length
album like?
Code: It was incredibly smooth. I think staying focused is very important when you’re making music. I felt that there was some invisible force behind me that was continuously pushing me forward during the process, so all the melodies and ideas just came to my mind one after another. It was unbelievable! But come to think of it, perhaps the ancestors were blessing me for trying to glorify our traditional culture.
VW: How do you feel about the scene in Taiwan right now?
Code: It’s still very commercial. Most parties are all about making money. The DJs/artists who create original music don’t really get that much credit or opportunity.
VW: So what are you going to do about that?
Code: Well, I like trying out new things and I love music. When I hear something really inspiring, I tell myself, I want to be a person who can create music that inspires other people too. Making music has become part of my daily life and I will keep on doing it no matter what.
Code plays China White, 2F, 97-101, Dunhua S Rd Sec 2, Taipei City (台北市敦化南路二段97-101號2F), every Saturday from 10pm to midnight. His debut full-length album, Asia River (江水), comes out next month. On the Net: www.myspace.com/codewu.
After seeing the poster for Supermilkmen vs Fantastic 4, with the headlining Londoners returning for a “night of mayhem” with Marcus Aurelius, vDUB, Mr Blends, and THC’s Babble On and Shaman on the wall of a local eatery months ago, it was hard to suppress high expectations en route to the party on Saturday night.
Tickets — NT$700 in advance and NT$800 at the door — tacked onto the cab fare to the Four Points Sheraton in Jhonghe, as well as the rooms that many partygoers booked for the night, made the evening a pricey venture for some.
Unfortunately, the venue, supposedly a somewhat luxurious, even decadent space, was a complete letdown. Upon entering the pleasant lobby, the decor appeared appropriate for the occasion. Even the room where the door fee was collected was nice.
However, the party itself was held in a largely empty, carpeted banquet room. The venue was dark and, even worse, looked dingy, with no furniture except for a few dining table chairs propped against the wall. Though the music was excellent, the melodies got lost in the space and the sparse turnout only emphasized the sense of barrenness.
Those who did show up inevitably retired with friends to the comfort of their hotel rooms. Small town school dances pack a better ambiance than this party.
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