ORDER PHYSICAL RELEASE ON MOUHOI:
mouhoi.bandcamp.com/album/consumed-leadens
Cheng Daoyuan is back with Consumed Leadens, his most private and intimate release after his debut album in 2019.
Cheng described the concept behind this release as “The Hybrid-death of Pieces from Past Which Buried in Grey”. Cheng spent years excavating from memories that were long been washed away, revisited with dissimulated perspectives, to make the final farewell of his selfhood.
Diverging from his previous harsh and apocalypse style, Cheng layered the emotions with atonality melodies, abstract pace, distorted vocals and deformation of field recordings, to construct an endless cycle of amnesty. Consumed Leadens reveals Cheng’s tenuous yet sophisticated side of his latest sonic exploration. Through ‘Fatelock’ for example, Cheng created Implicit and restrained ways of noise making that are filled with grotesque yet intricating usage of electronics and feedback, with occasion anonymous muttering that immerses you into a cinematic soundscape.
The two remixers brought the originals to the other end of the axis, aircode placed uncanny tensions in ‘Thus, Other Craving Continues’ that dissolve into astatic grooves while Alley Catss recreates ‘Absence of Substance’ in a dim and ethereal theme using destructive beats.
In the collaboration of artwork, harune.h, the artist and illustrator from Japan customize the artwork for the release. Gaining inspiration from listening to this release, she told us “I felt like I got a glimpse into your life.”
About the Artist:
Cheng Daoyuan is a multimedia artist devoted to the examination of the concomitance and rivalry between the self and the nature of existence through experimental sound, image, and installation works. This examination has been at the core of Cheng’s art practice, which involves a philosophical exercise that he describes by saying “Completeness is nothingness, and the end is the beginning.”
In 2022, he was selected as the resident of the Sound-Off Project in Taiwan Sound Lab, C-LAB, and presented the 49.4-channel multimedia work DOOME: Null Gods. The same year, he participated in the Taiwan Biennial with a multi-audio channel and video installation work Where End Is Silent.