BLOOD WINE OR HONEY / Fear & Celebration   From the press release:  Surrounded by the throb of heavy machinery, the scent of dried fish, and the humidity of the South China Sea, Blood Wine or Honey have honed their manic hypno-tropicalia in the industrial warehouses and hidden rural hamlets of Hong Kong.   Fear & Celebration  is a witch’s brew of brazen sax themes, lo-fi/hi-tech electronics, motorik drums, group-sung vocals, wonky tactics and party palpitations results in a ritualistically euphoric sound experience, taking notes from post-punk, dance floor experimentation, bass/soundsystem music and tropical polyrhythms.  After the band’s live debut at Sonar Festival, their breakout track 'Anxious Party People' (Plastic Pagan 2017) shocked dancefloors all over the world, receiving a shortlist nomination at Gilles Peterson’s Worldwide Awards for 'Track Of The Year’ and catching the attention of major radio outlets such as BBC 6 Music (UK), Radio Nova (FR), Worldwide FM, Beats In Space (US), RTE (IE), Radio Bern (CH), NTS, Radio X (DE), CR2 903 (HK) and KCRW (US), as well as being featured on Bandcamp Weekly.  The album adopts “a kitchen sink approach to body music” (bleep.com) throughout its 9 tracks — burgeoning concept solos punctuate hulking low-end, while drum set freak-outs and extra-spectral wanderings bind with moments of beatific modal calm as disparate ingredients are satisfyingly reconciled. This is deep dance-floor for every mind's ear.  Press quotes:  “A unique take on modern dance floor tropicalia that draws the line beautifully between Post-Punk, NY Disco Not Disco and Afro-Latin outernational sounds.”  Dom Servini, Wah Wah 45s"   “I’m catching a flight to Hong Kong with one aim — to see these guys”  Gilles Peterson    “...the brilliant Blood Wine or Honey ... a stimulating blend of tribal rhythms, electro-psych and afro-beat  Tom Ravenscroft, BBC 6 Music   “What a tune, Anxious Party People ... one of the big dance-floor tunes this year ... one of the big tunes for me this year as well”  Rob Luis, Tru Thoughts
       
     
 above: video still from  emergemergemerge #2 (featuring Jason Yap)   Shane Aspegren’s residency at WING Platform (March/April 2018) used the starting point of an existing archive of “unfinished” sound loops to provoke conversations with invited guests. Staged with the pretense of performance but executed with a casual interaction of daily life, each visitor was in-turn asked to become an integral part of an ongoing, communal improvisation through recorded interactions. The process was invited to morph over the course of the residency as a living feedback loop and was intended to be experienced as a living work-in-progress, using personal exchanges to explore the nature (and result) of human interaction, improvisation, intimacy and social anxieties, as well as provoking questions related to authorship, production, performance, selection and presentation.
       
     
 "Ci Ha Visto Un Re (A King Saw Us)", an installation and immersive theatre performance by Shane Aspegren and Adrian Wong   Commissioned by Alcantara and curated by Davide Quadrio and Massimo Torrigiani as part of the exhibit "Ho Visto Un Re" - Palazzo Reale, Milano, Italy.  October 2016  Cast:  Dama di Corte: Eloisa Reverie Vezzosi   Araldo: Olivier Langhendries   La Guardia: Giovanni Abbracciavento  Other artists included in the exhibition, whose work was transformed into the sets for the performance: Maurizio Anzeri, Arthur Arbesser, Paola Besana, Gentucca Bini, Matthew Herbert, Taisuke Koyama, Francesco Simeti     Photography by Shane Aspegren, except where noted
       
     
 Above: Video stills from "Cromniomancy" (6'56") - Written, directed, shot & edited by Shane Aspegren & Adrian Wong.  Animated by Dylan Collard.  Narrated by Cynthia Coulson & Andrew Chworowsky.
       
     
 Third Eye Kaleidoscope was a series of interventions by Shane Aspegren (US) and Adrian Wong (US).  The fifth and final intervention took place in Sham Shui Po, Hong Kong, where a 20-foot-diameter yurt* was temporarily erected on the rooftop of  Things That Can Happen .  Visitors were invited to enter and perform a series of instructions at five stations around the yurt’s perimeter.  "Instructions are provided to serve as guidelines, though they are interpreted by the participant and yield a range of different experiences. The participation of the visitor activates the stations, rendering each performance a unique living sculpture."  *The yurt was destroyed by Typhoon Haima and the installation was reset in the open air. 
       
     
  2. Pulses of light at specific frequency induce a hypnagogic state, stimulating the   optic nerve at the base of the eye. Pulling open the thin veil, take a good look into the feedback. There is no show but it's there: a many-headed Phoenix.    *The Dreamachine is a device first conceived by Brion Gysin and Ian Sommerville in the late 1950’s.     Adrian Wong & Shane Aspegren   May 5 / June 2 2016    2. 光波幻彩,脈動流轉,映進眼底神經,深入迷離夢魅國度。帷幕,是時候漸次   拉開,窺探眾生所思所感。藝展未竟,先行迎來千首鳳凰。    *夢機器由拜恩基森與伊恩森馬維爾於1950年代末首次構想而來。    Adrian Wong 與 Shane Aspegren   2016年5月6日至6月2日    -------   Mirror, MDF, cardboard, LEDs, motor, audio loop      http://holymotorsproject.com/2-Adrian-Wong-Shane-Aspegren  photo by Luke Casey/Holy Motors
       
     
  Third-Eye Kaleidoscope  was a series of interventions by Shane Aspegren (US) and Adrian Wong (US) aimed at tracing the development of the New Age movement and its related principles, beliefs, and practices. Initially taking hold in the West in the 1960’s and 70’s, New Ageism was fueled by an influx of Eastern philosophies, propagating an alternative to the normative structures of the Judeo-Christian framework. These philosophies were inevitably melded with various homegrown forms of mysticism, to yield its dizzying constellation of pantheistic and hybridized forms—forms that have now made their way back East. This New New Age is the subject of this present investigation. Hong Kong is uniquely positioned both as a place where many of New Ageism’s roots can be traced back to, and as a place where its modern practice is thriving. At present, the city is home to over one hundred yoga studios, an international center for transcendental meditation, six institutions teaching the practice of Reiki, the largest metaphysics and astrology center in Southern China, two autonomous schools of animal communication, and a New Age studies center which boasts over a thousand members. Three interventions are scheduled to occur during Art Basel Hong Kong 2016, made possible by financial support from the Hong Kong Arts Development Council, with additional logistical support from WING platform for performance.  more info at  thirdeyekaleidoscope.com      *Third-Eye Kaleidoscope was made possible by the support of the Hong Kong Arts Development Council. The content of the work does not necessarily reflect the opinions or views of the council. Acknowledgement of the Council carries no implication that the Council or its employees undertake or accept any responsibility to third parties for any debts or obligations associated with the production of the work.     Video/stills by Seth Henderson (Day 1, 2) and Karim Hapette (Day 3)   Video edit by Shane Aspegren & Adrian Wong  Photos by Shane Aspegren (Day 2)
       
     
 Conceived as an alter-ego to The Berg Sans Nipple, the name  Ça Va Chéri  was first used by Shane Aspegren and Jérome Lorichon (AKA Lori Sean Berg) to create a commissioned soundtrack for a film that didn’t exist - " Île des sables ”.  After a decade, the duo were wrapping up touring for their final release as Berg and were looking to find a new approach to working together.  Fast-forward a few years and a different geographical relationship (Paris <-> Hong Kong) — they decided to take up a short residency at Les Ateliers Claus to revive the idea of Ça Va Chéri.  Focused around machines, more dance-able rhythms and the Buchla synth that Lori had been building over the past few years, the residency produced hours of strikingly different sounds than the airy cinematic feeling of " Île des sables ”— an album that was little-heard due to it’s original context.*  Stay tuned...  * Île des sables  will be officially re-released in 2017
       
     
 Plot points is an electronic music duo from Todd Fink (The Faint, Closeness, Channel Pressure) and Shane Aspegren (The Berg Sans Nipple, Blood Wine or Honey, Pando's People).  New tracks coming in 2017     Image by Jean-Pacome Dedieu
       
     
 THE GLORIOUS PHOENIX (installation version 2015)   wool carpet, artificial plants, music stands, graphical scores, metallophone, percussion, woodwind, video 16”00 2.5 m x 2.5 m x 2 m  Originally a story written (for Spring Workshop’s  Stationary 1  publication) by Adrian Wong,  The Glorious Phoenix  was incorporated as a video segment of Shane Aspegren's performance piece  Free Lounge . Following the performance, Aspegren and Wong were commissioned by the Frank Yang Foundation to turn  The Glorious Phoenix  into a stand-alone installation, with an intermediary step of creating a fully realized dance performance for the Post-Vernissage of Art Basel Hong Kong 2015.  photo courtesy of LTD Gallery, Los Angeles
       
     
       
     
 Pando's People is a solo/collaborative project of Shane Aspegren. Originating as an outlet for several hard drives full of unfinished ideas, it expanded into a live version last year for shows in France and Belgium, as well as deejay sets in Asia. Tracks will be released in 2017 and feature collaborations with Alan Wilson (chk chk chk), Jean Daval (Preservation, Mos Def), Arto Lindsay, Jo Von Hess (Blood Wine or Honey), Nicolas Laureau (NLF trio, Don Nino), Larry Gus (DFA) and more.
       
     
 Commissioned by Art Basel Hong Kong for Arto Lindsay's  Paper Rain  parade, Shane Aspegren and Lindsay collaborated on a roaming installation / performance comprised of ten boomboxes, which were pulled along the parade's route by five rickshaw drivers. Each boombox functions simultaneously as a standalone sound piece and as a piece of a larger sound collage, playing various sound loops which were newly created by Aspegren—using field recordings, studio sounds and extracts from prior works by both himself and Lindsay.  The individual elements act as fragments of a disappearing soundtrack for the parade, intermittently crossing paths with each other, as well as the parade's other performers, sounds and spectators. The boomboxes ultimately merge into a single location at the end of the parade in a cacophonous collision.   Artists who participated in Paper Rain include: Korakrit Arunanodcha, Nadim Abbas, Joao Vasco Pavia, Cedric Maridet, Angela Su, Kung Chi Shing and Otomo Yoshihide.