The DJ booth set-up this year at Spring Scream was pretty spectacular with a sumptuous sound. And it went off. Big time. Edify from Taichung proved his credentials as one of the country’s best with his huge party sound. The raised booth seemed designed to be danced on, and was, meaning the DJ was surrounded by a wall of people. It looked and felt great.
Lazy Habits from the UK threw down a hip-hop set that everyone talked about afterwards, and Bounce Girlz showed off why they always pull in a crowd — it isn’t for the novelty of seeing two cute girls behind the decks.
Electronically, Spring Scream was a great weekend of music that rivaled the live bands all the way. The only bother was the turntables turning up real late on Saturday, which meant Twohands’ (aka Dan Lambert), with a sweet new hip-hop mix out right now called I Got Them Tees, didn’t get to play. So, here’s a link to the mix:
Not so long ago 2manydjs and Diplo played on the same night here at different venues. Putting Taipei even more firmly on the map tomorrow are John Selway and Paul van Dyk, who play tomorrow at The Wall (這牆) and Nangang 101 (南港101), respectively.
Techno aficionado Selway returns to Taipei to play Earworm’s second-year anniversary party. The DJ, from Washington originally but now firmly ensconced in New York, has been playing for close to two decades and, if he has to be classified, is at heart a minimal techno man. This is not quite accurate, though, as he has in the past been an innovator of many styles. With a three-hour set to sink his teeth into tomorrow, attendees will be in for a wide variety of sounds, including deep house and classic electro.
Yoshi will be opening and Earworm’s residents DataBass and BB will be going back-to-back after Selway’s set. If you think the Nankang DJ is a bit of a Dyk, then go for something cooler, smaller and with less to live up to.
Earworm 2nd Anniversary with John Selway, tomorrow from midnight until 5am at The Wall, B1, 200, Roosevelt Rd Sec 4, Taipei City (台北市羅斯福路四段200號B1). Admission
is NT$800 at the door. Tel: (02) 2930-0162. On the Net: www.thewall.com.tw
Paul van Dyk has been a ubiquitous name in the dance music scene for many years now. He’ll be ripping into Nankang 101 for Spring Love at around the same time as Selway plays The Wall. Having been dubbed best deejay in the world twice in the mid 2000s, this night will be packed and apparently only 5,000 punters will be let in. It would be easy to call Berliner Van Dyk a trance DJ, but he prefers to keep his style nameless. Attendees will be taken on a journey, though. A journey that sounds and feels something like trance but without the stigma attached to the moniker. There is one hell of a setup for him too, as Van Dyk plays with two Macbooks and two MIDI keyboards to create unique sets, which are not trance.
It is eyebrow-raising that on a night of mad tunes and kids off their rockers, one of the admission rules is “persons with mental illnesses will not be allowed.” So says the gig’s Facebook invitation message, sent from Luxy’s page.
Paul van Dyk at Spring Love, tomorrow from 11pm until 5am at Nangang 101, 71 Xingnan St, Taipei City (台北市興南街71號). Admission is NT$1,800 at the door. On the Net: www.springlove.com.tw
The 22nd Taipei Arts Festival (臺北藝術節) opens tonight with three productions, a slightly scaled-down pandemic version that seeks to keep its tradition of big ideas, challenging programs and international connections alive and moving forward in an increasingly uncertain world. The theme of this year’s festival is “Super@#S%?” — as good a term as any when descriptives and superlatives seem not only inadequate, but somewhat irrelevant in a world where so many people cannot imagine being able to return to theaters, either as performers or audience members — they are too worried about having a job and their health. Technically, however, it is
Shuanglianpi (雙連埤) is both a Hakka outpost and a place of great ecological interest. The conjoined body of water from which it gets its name is the centerpiece of the 17.16-hectare Shuanglianpi Wildlife Refuge (雙連埤野生動物保護區). No waterways of significance fill or drain this scenic lake in Yilan County’s Yuanshan Township (員山鄉). During the 1895 to 1945 period of Japanese rule, the colonial authorities — struggling to secure Taiwan’s foothills — encouraged Han people to settle in areas adjacent to indigenous communities. Around 1910, a 49-year-old Hakka pioneer called Tsou Cheng-sheng (鄒成生) from what’s now Taoyuan decided to begin farming at
Since its launch in 2014, the Taiwan Season has increasingly become a “must-see” at the Edinburgh Festival Fringe. So, when this year’s three-week Fringe became an early casualty of the COVID-19 coronavirus pandemic, Chen Pin-chuan (陳斌全) was determined that the Taiwan Season must continue in some form. Chen, director of the Cultural Division of the Taipei Representative Office in the UK, says that he and Taiwan Season curator and producer Yeh Jih-wen (葉紀紋) had been thinking of ways of growing and adding value to the season anyway. The crisis and the cancellation of the live performances brought those ideas forward as
Wild Sparrow (野雀之詩) is simple and extremely slow paced, told through the eyes of Han (Kao Yu-hsia, 高於夏), an introspective, shy grade schooler who lives with his great-grandmother in the verdant countryside. Han has a fascination with sparrows, which are either flying high in the sky or trapped in cages and nets, providing a constant metaphor throughout the film. In the most ironic scene, a man catches the birds just to charge people to set them free again, taking advantage of Buddhists who engage in the ritual of “releasing” animals from captivity. Han takes a badly injured sparrow home and