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Intro -- Acknowledgements -- Contents -- Notes on Contributors -- List of Images -- 1: Introduction: Nomadism, Fragmentation, and Marginality - The Hong Kong Music Underground in the East Asian Context -- Defining Musical 'Undergrounds' -- Positioning Hong Kong in East Asian Undergrounds -- Locality, Translocalism, Sceneness -- Hong Kong Underground Music Scenes as Fractured Scenes -- Chapter Outlines -- Part One: Different Perspectives on the Hong Kong Underground -- Part Two Take 1: Individual Case Studies in Noise/Experimental/Free Improvisation -- Part Two Take 2: Individual Case Studies in Sound Art/Contemporary Approach -- Part Two Take 3: Individual Case Studies in Indie-Rock/Indie-Pop and Electronic Music -- Part Three: Inter/faces -- Mainland China -- Japan -- Towards a Plurality of Translocal Undergrounds in East Asia -- References -- Part One: Perspectives on the Hong Kong Underground -- 2: Ice Skating and Stinky Foods: Notes from the Hong Kong Underground, 2018-2019 -- Background to My Work and Residency -- Vessel: The First Night (October 9, 2019) -- Resonance: The Second Night (October 10, 2019) -- Bread: The Third Night (October 11, 2019) -- References -- 3: Interview with Xper.Xr. -- 4: Interview with Kung Chi Shing -- Part Two, Take 1: Individual Case Studies in Noise/Experimental Music/Free Improvisation -- 5: The Politics of Noise: An Interview with Sound Scientist Dennis Wong -- Foreword by Blair Reeve -- 6: Opportunities in Theatre Performing Arts Advancement in Bettering Underground Music Development: A Reflection on the Relevance of the Technical Production in Local/Global Experimental Music Performances -- 7: A "No-Venue Underground": Making Experimental Music Around Hong Kong's Lack of Performance Spaces -- Unit 7, 8th floor, Block B, Wah Tat Industrial Centre, 8-10 Wah Sing Street, Kwai Hing, Kowloon, Hong Kong.
Hijacking the City -- An Underground Without Ground -- References -- Part Two, Take 2: Individual Case Studies in Sound and Contemporary Art -- 8: Interview with Samson Young -- 9: Noises That No One Else Hears -- Listening Under Unstable Conditions -- The Work of Amateurs -- References -- 10: In Crevices, Stairwells, and Ever-Changing Tides: A Personal Reflection on Holding Up a Walking and Listening Body -- 1 -- 2 -- 3 -- 4 -- 5 -- 6 -- 7 -- Appendix -- Part Two, Take 3: Individual Case Studies in Indie-Rock/Indie-Pop and Electronic Music -- 11: From Indie to Underground: The Hong Kong DIY Rock Scene in the Post-Hidden Agenda Era -- An Art Village Born in an Industrial Zone -- Cultural Revitalisation as Social Cleansing -- Hidden Agenda (2009~2017) -- The 'Post-Hidden Agenda' Era -- References -- 12: The Transformation of Indie Music in Hong Kong -- Insights from Insiders -- Lyrics in Hong Kong's Indie Music -- The Fall of Cantopop and the Rise of Indie Pop -- References -- Seminar -- 13: Underground Club Music After Social Media: A Study of Hong Kong Underground Club Music Scene Through Absurd TRAX from 2016 to 2018, A Personal Perspective -- Background: The 'Deconstructed Club' Music -- Where It Could Have Begun: Collectives, Labels, Social Media Platforms, Music Festivals, and Club Networks -- The Case of Hong Kong: From XXX, HKCR to Absurd TRAX -- XXX -- HKCR -- Absurd TRAX -- Conclusion -- References -- Part Three: Interfaces -- 14: Radical Participation: The Politics of Performance in Chinese Punk-Rock Concerts -- Creating a Scene in a Hostile Environment -- The Politics of Pogo Dancing -- Disciplined and Punished: The Visible Hand of the State During Punk and Rock Performances -- Conclusion -- References -- 15: An Underground Music Venue in Beijing: fRUITYSPACE -- Pressures on Zhai's Vision for fRUITYSPACE -- References.
16: History of Sound in the Arts in Japan Between the 1960s and 1990s -- Introduction -- Before "Sound Art": 1960s and 1970s -- 1960s: Experimental Music and Environmental Art -- 1970s: Post Mono-Ha, Proto-Sound Art, and the Distinguished Trio in the Avant-Garde Sound World -- After "Sound Art": 1980s and Beyond -- 1980s: Kankyō Ongaku and the Exhibitions -- 1990s: The Term Popularized -- Tentative Conclusion: 2000s and Beyond -- References -- 17: "Like the Apocalypse Is Imminent by Guys Who Could Barely Play Guitar": Performing Amateurism in the Garage Rock Underground of Tokyo -- Introduction -- Garage Rock and the Revival of 1960s Rock and Roll -- Ama-chua-rizumu (Amateurism) in Japan -- "Fuzz-Mongering No-Names" and the Amateur Sensibility -- Amateurs at Work: Cultural Production and the Livehouse Scene -- Immediacy, Excess, and Garage Performance -- Conclusion -- References -- 18: Conclusion: Notes on Cities, Undergrounds and Closed Upper Rooms -- The Sociable Spaces of Culture -- Spaces of Culture, Spaces of the City -- References.
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Fractured scenes : underground music-making in Hong Kong and East Asia / / Damien Charrieras, François Mouillot, editors
