Tag: avant garde music

Every everything (The Chiang Rai Alternative Hour #15) – 7th December 2019

~ shaun tenzenmen ~ Leave a comment

It’s taken me more than a year and a half to recover!

When I returned from the CELTA training course I found my brain had changed.  I seem to flip between data driven thinking and artistic thinking and often cannot find a good balance.  The training was very linear and intensive (as it should be) and on reflection now, some 18 months later, was easier to complete than I imagined beforehand and during.  The pressure to achieve was very high but that pressure mostly came from within.  Now, I realise that I can turn my hand to anything if I wish to.

Of course, the circumstances since the training have mostly helped me arrive at this conclusion.  First I started doing some free teaching with students from the local university.  This gave me a little self confidence though I was often shocked at the students poor language levels, in the language they are studying for their degrees, whatever the subject.  I can suggest to myself that I could probably easily complete a degree at the university here purely based on the fact I can use the language fully.  Anyway, that’s by the by for now as I’m not really considering that as an option at the moment.

After a few months kicking around and enjoying much free time I ended up working with Grade 5 students at a nearby provincial school.  I have a million stories from there, many which I would like to forget.  I soon discovered the crazy dysfunction in the education system here.  If it’s obvious to me, an unqualified teacher starting their first job then the system must be pretty poor.

I don’t intend to tarnish the education system as a whole as that would be unfair.  The circumstances I was in influenced a lot of my impressions and I try to understand that what I saw was not indicative of other places.  It was, however, the belief of many others teaching here that things are not much better elsewhere in the country.  There are a million reasons for this and books could be filled trying to explain.  The main down side for me was that I felt that I was unable to do a good job and provide useful learning for the students a lot of the time.  I hate doing a bad job – especially when eventually someone else is going to suffer for it.  So that was the other down side – watching willing students deal with the inadequacies of the system which lead to inconsistency in almost everything.  Frustrating beyond belief.

Beyond that though I have found myself with a passion and love for the students that has made me incredibly happy.  It’s a job that I really love to invest my time in and to go to work to do it.  I’ll talk more about this in future.

Just a short one this time as I push myself to get back into this.

“Every heartbeat, every movement, every moment, every sigh.”

Gratitude Journal

I am so grateful and happy to go to school on Friday, which was hard as I had been sick this week and had a bad experience on Monday. The kids also drove me crazy and made me quite angry but I survived and talked to Kru Noon about strategies to get them to listen more. I will take her advice and try this next week!

The Chiang Rai Alternative Hour #15

Music from Hamster Theatre, Super Thief, Infidel-Castro!, Arm, Kultur Shock, Captain Beefheart, Fugazi, Bogshed, Brainiac, Neon Rose, By The End of Tonight, Rafter, Huggy Bear, Jimmy Two Hands, Zu/Mats Gustafsson, Secret Hate and The Ex.

The Chiang Rai Alternative Hour #14 – 30th November 2019

~ shaun tenzenmen ~ Leave a comment

Music from Effigies, Cardiacs, mr sterile Assembly, Charlottefield, Goblin, Charming Hostess, Palberta, Lungfish, Yugen, Subway Sect, Helta Skelta, Hatfield and the North, Churn Milk Joan, Radio Delhi, Midori, Positively 13 O’Clock, Boy Wonder, Blood Brothers and Human Expression.

Gratitude Journal

I am so happy and grateful to the staff at the hospital this morning who took care of Amy after she fell over and hit her head. Nothing serious thankfully.

The Chiang Rai Alternative Hour #13 – 23rd November 2019

~ shaun tenzenmen ~ Leave a comment

Music from DMBQ, Sebadoh, Belly Button, Units, Amateur Drunks, Round Eye, Blame Game, Minutemen, Ilaiyaraaja, Ween, Motorhead, Széki Kurva, The St Thomas Pepper Smelter, Hebosagil, Tall Dwarfs, DNA, The Milkshakes, Samla Mammas Manna and Pryapisme.

Gratitude Journal

I am so happy and grateful to be working in schools and with a not so serious expectation of my teaching skills. Of course, I always try to improve but the fact it is a little more relaxed has meant that I can enjoy interacting with the kids more. I don’t see many of they other teachers getting involved in the same way so much especially not the Thai teachers. All the kids want to talk to me all the time. I feel like I am a great asset to the school. I hope the school feels the same.*

17th Apr 2021 – * – It didn’t.

The Chiang Rai Alternative Hour #12 – 16th November 2019

~ shaun tenzenmen ~ Leave a comment

Music from Ibrahim Maalouf, Pm 7_Jupiter, Vialka, Doctor Coffee, The Fugs, The Fall, Pavement, The Dickies, Turnpike, France Gall, WannFunTastiKlons, uSSSy, Birthday Party, Ween, The Who and And So I Watch You From Afar.

Gratitude Journal

I am so happy and grateful that I have learned not to be afraid to stand up for what I believe in and also accept those consequences even if they are not in my favour. Others may do things differently and that’s their choice.

11th Apr 2021 – You’ll have to keep reading to find out more about those consequences – the period between September 2019 and March 2020 was very trying indeed! The last sentence mention of ‘others’ is just about the advice given by other teachers to me and how some considered that it is impossible for a farang to change and improve things within any Thai system. I fought against it and arguably, I lost – at least at the time. Longer term though I consider the minor changes I did create were worth the effort. Being a teacher is not about taking it easy for me, it’s a responsibility. I see others putting up and shutting up, but to me, that is just lazy. Never give up.

The Chiang Rai Alternative Hour #11 – 9th November 2019

~ shaun tenzenmen ~ Leave a comment

Music from The Misunderstood, Angelic Upstarts, Passage, Surveillance, 13th Floor Elevators, Lozenge, Vaz, Hard-Ons, The Damned, Queen, Captain Beefheart, Melt Banana, Crass, Hitler SS, Meat Puppets, I Am Above and on the Left, Thee Headcoats, Party Diktator, Supertramp.

Gratitude Journal

I am so happy and grateful to be living in this part of the world. There are many times in a week when I marvel at the views of the rice fields and the mountains. Their depth changes depending on the weather conditions and time of day. There are good and bad points about every place to live but I certainly feel grateful for my time living here.

白+ – White + – 19th November 2012

~ shaun tenzenmen ~ Leave a comment

Cat #: 124TZM

White+ traveled to Germany in 2011 to record their first album at the celebrated Anderebaustelle Studio, where Blixa Bargeld, frontman of Einstürzende Neubauten, had produced White’s album in 2007. PK14’s Yang Haisong along with Marco Paschke, a frequent collaborator with EN, handled the mixing for White+’s debut album while its cover was designed by Fu Han, the vocalist of Queen Sea Big Shark. One of the most original moments of the album comes at the very end with the acclaimed Beijing musician Han Lei rapping to the theme “reD.”

The album reflects White+’s influences, from German avant-garde music to minimalism. Shouwang’s spare vocal line provides an ethereal accompaniment to the the swelling web of effects and melodies, while WangXu’s drumbeats are the driving pulse that propel the songs forward.

The songs on “White+” are all named after colours, breaking the album down into tracks like light through a prism. Layer those different colors of light back together, and as a whole, they form White+.

The Performance of Identity​ and One Man’s Orchestra – 1st March 2011

~ shaun tenzenmen ~ Leave a comment

Cat #: 050TZM

He Guoheng, known in the world of music as Xiao He, is one of the most creative and influential artists in the Beijing music scene. Besides his recordings and his solo and ensemble music performances, he is active in drama, writes incidental music, and is a creative force in the underground movie industry. He is also the head of Maybe Horse, a Maybe Mars sub- label dedicated to supporting and developing Beijing’s and China’s most innovative folk and ethnic musicians. 

At the same time Xiao He, which is the alias he settled on for his folk and improvised music performances, played guitar, drum and accordion at River, a legendary old Beijing folk bar. Between these two projects Xiao He quickly developed a serious following among artists and music fans in the China music scene. In 2003, Modern Sky, China’s largest independent label, released his first CD, a live recording called “The Bird that Can Fly High Landed on the Cow that Can Run Fast”. Almost immediately this was received as one of the most important recordings in contemporary Chinese music. 

Except for a very few special performances with Glorious Pharmacy, today Xiao He only plays solo performances. Calling these multi-faceted improvised performances “Free Folk”, as much to express his anarchic playfulness as to suggest the total freedom which he approaches musical instrumentation, vocal performances and stylistic experimentation, he has become the inventor of a deeply weird and immensely moving style of music, mystical and surreal, which abruptly veers from the plaintive cries of Mongolian or Western Chinese music to the barbed and sometimes childlike humour of the avant garde. Complementing his stylistic creativity is a wholly unique way of playing acoustic guitar, loops, synthesizers and any other instrument that catches his fancy. 

After his 2009 European tour, Xiao He released his second album in China with Maybe Mars. Consisting of improvised live and studio performances and two separate CDs the new album is a milestone for Xiao He. The live CD is based on 30 hours of recordings going back three years, which he has assembled as his “Personal Symphony” and, selected from six different shows, focuses on the irreversible and unrepeatable character of live performance. The other CD was recorded in his studio and focuses on the quality of the sounds and experimentation with the recording process and juxtaposes thousands of ways of combining vocal sounds with the sound of his guitar as he wrestles with and reinterprets his understanding of Minimalism.