Indie electronica/rock duo Astro Bunny (原子邦妮) is that rare thing: a band with a storyteller’s point of view.
The outfit will perform one set for its debut concert at Riverside Cafe (河岸留言) on Wednesday evening. The group is comprised of vocalist/lyricist Lena Cha (查家雯 a.k.a. 查查) — the former front-girl for the indie band Cherry Boom (櫻桃幫) — and bassist/producer Jay Cheng (程杰).
“We named the group ‘bunny’ because I love bunnies and I forced him to like them too,” Cha laughed in an interview with the Taipei Times three weeks ago. “I picked the word “astro” because I’m an anime and computer game geek.”
Photo courtesy of Astro Bunny
The group released its first EP What If There’s No Tomorrow (如果沒有以後) a month ago and will support the release with this concert.
“The astro bunny will lead you to a parallel universe where the ancient and the modern clash in a musical atmosphere,” Cha said, explaining that their electronica is crafted through the juxtaposition of literary ancient Chinese prose and contemporary electronica melodies. The resulting music is a combined composition.
“Because of the neutral nature of the synthesizer used to create electronica sounds, this seemingly lifeless music doesn’t feed you with predetermined themes,” Cha explained. “Rather, it allows you to interpret and imagine meanings according to your mood at the time.”
Photo courtesy of Astro Bunny
The five-track EP is conceived as a concept album and a storybook. The Intro depicts the beginning when nothing exists. Then an explosion takes place, followed by the track The Milky Way (銀河). With the title track What If There’s No Tomorrow, the two imagine the apocalypse of 2012, but resolve to hold on to their love. Flower Blossoms and Moon Round (花好月圓) was originally written by Cheng for indie icon Sandee Chan (陳珊妮) but is transformed into an electronica gem with literary lyrics. The closing track That Day (那天) is an electronica ballad about encountering a former lover and reminiscing about what might have been.
“Electronica is a form that demands a mixture of visual and musical presentation,” Cha said. “We want to bring video artists, VJs and lighting designers together to enhance the experience of our concerts in the future.”
On the cover and inside illustration of the EP there are photographs by Cha taken with an iPhone app that transforms them into designs. She plans to push this concept further to release a photo album with iPhone shots and also a storybook album.
“The possibilities of electronica are endless,” she said. The group plans to release its first full-length album at the end of this year.
In the March 9 edition of the Taipei Times a piece by Ninon Godefroy ran with the headine “The quiet, gentle rhythm of Taiwan.” It started with the line “Taiwan is a small, humble place. There is no Eiffel Tower, no pyramids — no singular attraction that draws the world’s attention.” I laughed out loud at that. This was out of no disrespect for the author or the piece, which made some interesting analogies and good points about how both Din Tai Fung’s and Taiwan Semiconductor Manufacturing Co’s (TSMC, 台積電) meticulous attention to detail and quality are not quite up to
Chinese Nationalist Party (KMT) Chairman Eric Chu (朱立倫) hatched a bold plan to charge forward and seize the initiative when he held a protest in front of the Taipei City Prosecutors’ Office. Though risky, because illegal, its success would help tackle at least six problems facing both himself and the KMT. What he did not see coming was Taipei Mayor Chiang Wan-an (將萬安) tripping him up out of the gate. In spite of Chu being the most consequential and successful KMT chairman since the early 2010s — arguably saving the party from financial ruin and restoring its electoral viability —
It is one of the more remarkable facts of Taiwan history that it was never occupied or claimed by any of the numerous kingdoms of southern China — Han or otherwise — that lay just across the water from it. None of their brilliant ministers ever discovered that Taiwan was a “core interest” of the state whose annexation was “inevitable.” As Paul Kua notes in an excellent monograph laying out how the Portuguese gave Taiwan the name “Formosa,” the first Europeans to express an interest in occupying Taiwan were the Spanish. Tonio Andrade in his seminal work, How Taiwan Became Chinese,
Toward the outside edge of Taichung City, in Wufeng District (霧峰去), sits a sprawling collection of single-story buildings with tiled roofs belonging to the Wufeng Lin (霧峰林家) family, who rose to prominence through success in military, commercial, and artistic endeavors in the 19th century. Most of these buildings have brick walls and tiled roofs in the traditional reddish-brown color, but in the middle is one incongruous property with bright white walls and a black tiled roof: Yipu Garden (頤圃). Purists may scoff at the Japanese-style exterior and its radical departure from the Fujianese architectural style of the surrounding buildings. However, the property
RSS