Alok's third album. 'One of Hong Kong's leading independent musicians will be celebrating his world-class new album at a revolutionary show at the end of May (2005). He is known as Alok, and his new work 29 Minutes from the End sets his standing in stone – as one of the most remarkable songwriters and creative talents of the Hong Kong band scene. This is a continuation of his former work 31 Minutes to Midnight . The album shows the artist is really coming into his own with an engaging, hypnotic and rocking journey into the consciousness of Hong Kong. Through the work we are introduced to a cast of some of Hong Kong's most inspired musicians. In 29 Minutes from The End no less than five of Hong Kong's most exciting vocalists collaborate on the work. These include the likes of rapper Ghoststyle, Lawwaiyip, Sean@UNiXX and Mable@在草地上 (Joytrendysound).'

Alok's second album.

Description:
1. Composed by Alok, recorded at bitMap Studio, 11, 2010 - 6, 2011
2. Composed by Alok and jrg_one, recorded live at Live at 2 Kolegas Bar, Beijing, 25,08,2009

Mastered by Alok

Bio:
Alok, a sound artist, guitarist and bassist. In 2002, he set up his own record label Lona Records, and started working as a producer. From the end of 2002 to 2011, he released 7 albums and 6 cd singles. He has played and participated in more than 150 shows and experimental events / projects in Hong Kong and China. Phon°noir was also invited to take part in the remix album of Phon°noir, an electronica German artist.

jrg_one (aka. Jackson Garland) has been producing and performing since 2005 in Beijing, China, and moved to Hanoi, Vietnam, in 2011. His music melds strains of dark ambient sounds and driving, subterranean rhythmic force. It reaches out from the hidden spaces between spaces to assault listeners' ears with extended dronescapes that unfold like haunted, creaking journeys through the dream world. Rising out of organic and electronic textures, fuzzed-out thick synth tones, looped vocals and layered rhythmic beats are punctuated by bursts of shimmering noise and ethereal haze. jrg_one's music makes use of prepared samples, field recordings, programming and live vocal and instrument looping...

Photo and design by Alok Leung

TRACKLISTING:
1. 6:28am (15:57)
2. Interface (Live at 2 Kolegas Bar, Beijing) (32:25)

This is the first 3"CDR singles series produced by Lona Records. As an attempt to explore the aesthetic boundaries of Hong Kong experimental sound, each 3" CDR or 3" DVDR will feature musical/multi-media works by individual artists. Each volume will be released in a limited numbered edition of 50.-

這是Lona Records推出的第一個3"CDR系列，旨在探索香港實驗性聲音的藝術疆域。每一張3"CDR或3"DVDR 皆印有編號，限量50張發售。

TRACKLISTING :
01. All the colors of the dark 16:15 (featuring piano by Wilson Tsang)
02. Electrosuite 01:16

Review:
All the colors of the dark - "The ultimate tribute to avant-garde/electro-acoustic/free-jazz in the last century."
向上世紀avant-garde / electro-acoustic / free-jazz 音樂的終極致敬。

Alok為其Lona Records策動這個限額發行3” CDR系列，目的是以此主打偏鋒實驗音樂創作之平台。他以其作品All The Colors Of The Dark / Electrosuite作為打頭陣的開卷作，固然「以身作則」——所以前者已是一首足足長達十六分鐘的Epic曲目。

不再是近年Alok所熱衷的Shoegazer曲風，All The Colors Of The Dark的創作大前提，是他試圖重拾他在Slow Tech Riddim時期那種不受常規羈絆、處於不斷蛻變中的音樂鋪排。多年前已得悉Alok對一眾現代派鋼琴音樂為情有獨鍾，在All The Colors Of The Dark裡其音樂好友Wilson Tsang主理的鋼琴演奏亦佔有相當重要的角色。

樂曲開首時從他那仿如早年Electro-Acoustic樂派的倒播與Tape Loop效果到Wilson一手耐人尋味的Contemporary派鋼琴，都來得滿是二十世紀Avant-Garde音樂之基因。直至三分多鐘後，隨著假以亂真Free-Jazz式鼓擊Driven切入(Alok說單是此曲的Drum Programming已足足砌了兩個月)，在輾轉反側的電聲氛圍下，Wilson亦繼而施展出他的Free-Form爵士鋼琴風範。一首十六分鐘的曲目，那好比要一口氣對Avant-Garde、Electro-Acoustic、Avant-Jazz等等二十世紀前衛音樂派系進行Homage。

而Electrosuite更開宗明義是他的Electro-Acoustic式作品，接近Musique Concrete那種電音實驗。 ---袁智聰 (MCB Online)

從完全的靜默開行
牢不可破的低頻綿緩前進
張結成網
恆定彌久而漸次擴大 幻變 延伸
成了 一室的浮水印
偶發的琴音挑撥穩重的沉鳴
舒伯特的靈光一閃
即就成了 最美麗的幹擾
最奇異的衝撞混合
四撥千斤

A low-frequency sostenuto
Snakes its way through a complete silence
The persistence of an all-embracing hum
Is rolled flat into a spiderweb
Evolving and expanding
With no end nor chasm
The piano notes break in
In adventitious jumps
So gracefully abrupt
In an aberrant tribute to
F. P. Schubert

Influenced by Impromptus, Op. 90 No. 1 Allegro Molto Moderato
Recorded and Mixed at bitMap Studio, Jan - Feb 2007
Produced by Alok

TRACKLISTING:
1. C for Schubert (21:30)

Review:

論及解構、批判或顛覆，這些後現代主義詞彙，今天訴諸於藝術空間的場域中，不少己經被戲謔之徒，錯殖成惡作劇的符碼，肆無忌憚蹂躪經典，扼殺重新賦上當代意義的空間。

多元開放的特點，反諷地於陳述中，遭遇疏忽或蓄意之情況下，被約化或忽略了；重構成整體的二元對立局面，消亡了詩意美學裡朦朧的指涉，凝聚統一又獨立存在、相同亦各異等的功能。

本地實驗音樂廠牌Lona Records，近日推出的全新3”CD-R專輯 [C]，具備探索精神的廠牌統帥 ~ Alok，籍內裡單曲 [C for Schubert]，利用舒伯特的即興鋼琴組曲 “Impromptus, Op. 90 No.1 Allegro Molto Moderato” 作引子，採取純理性的角度，使用複合聲音整理，重塑曲中的氣質、性質與特質，成功衝破前述論點的枷鎖。

通過非同系泛音的使用，測試持續琴音的互換與延蔓，拓展空間維度的多向量範籌，思索偶發與比例式編曲的共容性，呈現高低頻率的相互關係。原曲經歷被闡釋後，主體轉化成客體內的文本。一方面，兼具兩者的同源素質；另一方面，卻又演進成擁有獨立藝術價值的嶄新載體。

由此可見，若由別具慧眼的新世代音樂家操刀，經典即使被解構、批判甚至顛覆後，都只會給賦上新的意義。當中的內容與能量，不僅沒有虛耗，反而有所增加。這個不就是後現代主義應用於音樂領域上，其中的吊詭之處嗎？ --- Nihilist (www.sonicity.org)

這張小CDR只包含一曲，為舒伯特而做。事實上它是由舒伯特的即興曲“Impromptus, Op. 90 No.1 Allegro Molto Moderato”啟發而來，也採樣了其中的片段，在潛沉微妙的低頻中，喚醒了古人的吉光片羽。整個作品就像傳說中的淩波微步，或曰挾泰山以超北海，在有無之間，大美嫣然。
沒辦法，必須得用到成語和文言文。如果說舒伯特已經是成語，而鋼琴是文言文，那麼Alok當然是在用當代語法說話。當代的語言中，有太多來自古時候的基因，有的已經變異，有的原封不動，卻又在新的語境中散射出新的意義。開頭似乎無聲，需要凝神，然後低頻若有若無，滲了進來。然後是一點點雜音，一點點採樣，繞著採樣，又伸出了新的聲音，也是點到為止，雪泥鴻爪一般，大雁及其動作就在空無中存在下來。正弦波的低頻，是當代的純粹、抽象；樂器的聲音，是古代和近代的提純和律法；這兩樣原本無關，但其中雜音的破壞，就像局部的嫁接，和整體的重新編碼。當代地說，這就是解構後的再生。古代地說，這就是萬變中的不變，以意境統帥著超越時空的氣。舒伯特的即興曲，以意境取勝（抱歉，我google來的）。那些微弱的、含蓄的、環保的聲音倏忽而來而去，在暗黑的空間裏，在偶爾暴露的光和它的軌跡中，隱藏了緩慢而大的動態，也結構出聲音之外的天地。這就像用暗黑創造出的光，反向的奇跡。總之很美。--- 顏峻