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"The Invisible Mirror" By Jacky from Kanjian Music 2015

If you close your eyes and just close a door, hostility and confusion still permeate your limbs from every corner of the space. Such a stable sense of insecurity controls the residents of the city, and most of the time they will only bow their heads across the street and be pushed towards their destination by the power of ghosts. They didn't communicate with each other. Even if they passed by, they were unwilling to raise their heads to distinguish each other, even breathing carefully. Begging for safety, avoiding change, day by day blending into the space you are in. However, in stability, they can deeply feel that most of their eyes and movements are closely monitored. Even if they try their best to avoid the communication, the heel of the neck still feels a coolness all the time. This invisible sight is oppressed against the sky and low walls of the city, and there is only a little breathing space in the dark corner of the neon row of lights. No one controls what you do, but unpleasant contradictions have always filled your heart. Long-term oppression and contradictions will inevitably bring about an unstoppable change, and cracking the city clockwork requires a password. It can break the external fixed mode and allow the originally set weather, cold and warm to return to natural operation. Day and night need to be distinguished again, so that people will know when to rest and when to work. Thus, the inner shadow will also be unraveled. Change and stillness will alternate, and breaking the stability can alleviate the original sense of insecurity. This requires a revolution. The inner hiss before the launch is amplified in an orderly manner like the rhythm of Taiko. More than ten types of instrumental music are jointly shaking the curtain. The sound effect of the electronic synthesizer is calm and stable, and the heart beat is naturally beating. But the goal of the revolution is still unclear. No one has seen the leader behind the control. Most people are even immersed in the great cause of freedom. The invisible control may be a terrifying giant, or it may just be the fear of the future and the unknown within. Talents who are begging for change have discovered the secret, so even though the hostility and confusion continue to penetrate into the body, they still decided to close the original vision and devour the already dead heart. The wind-like flute rolls the calm and lively electronic beat in the background sound, the anthropomorphic breath breaks through the tightly pressed field of view, and the invisible and colorless electronic sea rolls in from the bottom of the eyes. Language has no meaning, but still needs a figurative guidance to clarify the meaning behind these sounds, otherwise the listener wanders like it is too vain to walk, unable to distinguish the real and the illusion, let’s talk about cracking the final required password and freedom What?  It is difficult to describe SIG's music in normal words. He once said that the oriental elements in music come from accident and accident. The album "The Sad Mirror" is quiet as a whole, but there is too much blank space. SIG is good at combining mystery and spirituality in electronic music, so the original physical sound effect will be a bit fit for the sensual and imaginary world. Both the "Sorrow's Mirror" and the later Buddhist music "Infinite Light" have an internal artistic conception, either small or distant. But if you don’t think so, it sounds very suitable for some cyberpunk fantasy scenes, the state where the great end gradually collapses.

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"There is something in the music that I can't solve."-Interview with SIG July 07, 2014

"There is something in the music that I can't solve."-Interview with SIG July 07, 2014 SIG, who comes from Qingdao and currently lives in Shanghai, may be one of the most mysterious music producers in the country. Under the low-key style, his work conveys the appeal of transcending music. Wujie Music Network is very honored to be able to come to SIG's residence on a quiet afternoon last month and chat with him about the reasons for the time difference in music creation and the trend of new works. SIG soundcloud: https://soundcloud.com/sigcn —————————————————————————— W: The SIG that most music fans are familiar with is the Trip Hop of "The Sad Mirror", but listening to your new song recently uploaded on Douban, such as "Space Dog", there are many Techno elements in it, how can you think of it? Want to absorb the influence of Techno music? S: In fact, the song uses 4/4 beats and electronically-biased sounds. There is no melody, and I don’t want to do Trip Hop. Trip Hop is also a definition given to me by others. The classification is for convenient description. I just want to make my own music and let people know that I made it, no matter what style it is. I listen to all kinds of music. I listen to Techno for a while. I absorb any style of music. I am a sensitive person. When I listen to music, I can easily grasp the good parts of the music for my use, even if it is popular. Le, I can turn it into what I want. But in the production of music, the rhythm of 80 to 90 beats is still the mainstream of my music. In addition, I will also add some technological things, such as the use of effects. Because when I was doing music in the past, I usually just upsample directly, then do the effects of EQ and some filters. But now I want to use special effects to change the entire sound. In fact, there are many such effects in "Space Dog". W: You have always attached great importance to the exploration of Oriental elements in music creation. Can you tell me your understanding of the two concepts of East and West? S: For me, the West feels physical, and the East is chemical. Similar to the difference between Western medicine and Chinese medicine. The West focuses on research and design, while the East focuses on accidents and accidents. I am still exploring. W: So Techno is not only conceptual, but also has a certain influence on your current music creation method? S: There are some, more Loop. In terms of technological effects, I will try to add effects to each small part of the song, and then continue to debug, the result will become what it is now. In addition, although I used 4/4 for rhythm, the tempo is still the same. Because from my perspective, the rhythm of the Chinese is still between 80 and 90 beats. The rhythm is like the root of a tree, and the other sounds are branches or flowers, which are walking around it. The rhythm is definitely more than a drumbeat. And I think the future trend of electronic music is 4/4 shots of 85BPM. W: With these new works now, will there be plans to make new DJ Sets, are there any new performance plans? S: When I was DJing before, I wanted to be as different as possible. The music I played was below 100 beats. In fact, the effect was not very good, but I would still do this, making it audible. Set or play on some special occasions. Making music is very self-made and can be done at will, but DJs still need to be interactive, and they must consider the scene. I'm indeed arranging my own 4/4 beat DJ Set now, I played a few times before. Of course, the new DJ Set and Live Set will be clearly separated, because of the DJ aspect, but I also want to be special, different from others, this Set sounds smooth, it is a Trip feeling, and it is difficult to arrange. It's actually here.  W: You mentioned that the latest "Space Dog" and other works have been made in 12 years. In fact, many of the tracks in "The Sad Mirror" were also done in a long time before. Is this time difference intentional or accidental? S: For me, finishing the music is only a part of the work, and giving it a name is equally important. So, for example, when I made a song in 11 years, it was so nice when you made a song, but I encountered a certain thing in 13 years and I was very touched. When I think of this song, there is also a song After finishing the picture, I made some detailed adjustments, and then summed up a name that feels very good for this song. For me, this is the real completion of the work. The so-called time difference is actually like this. It's a bit like sometimes when we encounter a situation, it feels similar to where it happened. In addition, the order of the tracks in the album is also very important to me. This is a box I have drawn for myself, at least that is the case in Mirror of Sadness. W: In addition to music, does the pursuit of character come from your love for poetry or novels? S: Yes, this approach does have a poetic feel. I am very in pursuit of beauty in music. For example, the name in "Sorrow's Mirror" has been around for 10 years. During that time, the name was basically four characters. What I want is actually that the words are not very similar, but they can The feeling of free combination rehearsal is more biased towards poetry. In fact, I liked Gu Cheng and Baudelaire's things from the earliest times. They matched some unrelated words together. Their things shocked me. I always thought it was pure beauty. W: So even after the publication of "The Sad Mirror", you have been doing things, but never published? S: Yes, I have been doing things. I have also done something that sounds new, but later I heard that it felt too unpleasant, so I deleted it and left it a bit. (Laughs) This music has nothing to do with yourself. Therefore, I feel that I still have to do my own things, music related to myself. I don't want to be limited by style. I have been doing things and have not considered how to publish or not good at considering how to publish. W: But after the release of "The Sad Mirror", you left Shanghai and returned to Qingdao. Was you still making music at that time? S: That’s right. I’ve been making music for a while at home. In fact, making music is like eating to me. It’s a habit. I have to do it every day. I also find other things to do because I do Music is too natural for me. W: When making music now, is there any difference between the method and the beginning? S: The method is no different, only the sound selection is biased towards the sound with less melody. My software for music-Reason is originally a very closed software, which is actually a benefit, because it allows you to mix and match without having to download all kinds of plug-ins all day, and you may not be able to do anything in the end. I think the most important thing is to make music, because my position is to be a producer, as long as I feel the work, I will leave it to a professional to do it later. I am not an Engineer or a Master. W: You used to invent the term "ocean music" to describe your own work. Can you tell me the origin of this idea? S: Deep and wide. "Ocean music" is actually this concept. I like the sea, which is invisible and invisible. W: Apart from art and literature, you often quote some Buddhist scriptures. Can this also be regarded as your previous understanding of oriental artistic conception in music? S: My music has never been vocal. I want to add some vocals to the new music. I don’t have MC, so I have friends who give me some scriptures I recorded from Master. Sometimes I just put Go in and try. It feels pretty good. I believe in Tantra. Tantra has a mysterious power. W: Finally, can you tell us about some development plans for the next work? S: The work is still being produced and organized. A Interview, text: DJ Sleepless

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Louder .cn Interview  March 07, 2011

Louder.cn Articles SIG: Sad Mirror March 07, 2011 SIG: By Chacha, sad mirror  SIG and I often meet each other, either in my house or in a bar. He sometimes comes to listen to music, smoking one by one like a chimney, but seldom speaks. Until now I can’t say that I know him. He and his music are fascinated by the halo, like a pedestrian gradually diving into the thick fog, swaying the flashlight in his hand. Before and after, I can only see the hazy beam I don't know where he is. SIG is about to release an album in April this year. I called him to talk about it. He said calmly: It’s time to pick it! I originally planned to write a large description of SIG and his music, but later found this idea ridiculous and terrifying. I don’t want to give you any preconceived impressions, so maybe you can get closer and look more closely at his music world. CHA: What kind of city is Shanghai to you? SIG: The rule in Shanghai is money. Everyone is active under this rule. The name "Magic City" is appropriate. It makes you hard to get close but you don't want to go. CHA: What do you think is pulling you? SIG: I think it is desire. In this city, I can obviously feel that my desires start to expand, and the activities start to be intense, and gradually I can't control it. CHA: How has such a city changed you? SIG: Basically, my heart changes every day, and my appearance changes with it. There is a vortex here, there will be a feeling of lost. That is, you will forget who you are. CHA: What kind of state do you think you should keep in to be your satisfied state? SIG: A sense of security, unaffected by external and internal desires, remain sensitive and calm at the same time. At first, it was in a good state for half a year, and then slowly entered the vortex, it will become more and more chaotic, and then it will be better in half a year. CHA: So which mental state is more likely to inspire your creative inspiration? SIG: I think the best state of making music should be a calm state. I wouldn’t feel lonely without anger, unhappy or even without desire. It’s the state that came naturally. This is the best for me. This album was made in this state. My music composition always tells me something before I can perceive it. But now, when I make this music, I can't understand it at all, and maybe it will be slowly understood after a few years. So I can't say whether he is good or bad, only an experiment. CHA: What about your upcoming album under the PAUSE MUSIC label? SIG: This record is called "Sad Mirror" and will be released in April this year, but it was completed in 2006-2008. It was the third year after I left the band and started writing my own music. This period I have already started New directions and ways of creating music. Starting from the blank, start with one tone or two tones, or make a drum first, and then add a tone, like building a house, some random unexpected reactions occur, which is my happiest, and then press your own technology It is enough to control the completion. When I finished a work, I didn't actually know what I was going to express. I would listen to it and modify it repeatedly. Slowly, when those pictures appeared, I would give it a name. When I gave them a sequence, it was already 3 years later, and this is how the album basically came out. CHA: This album "Sad Mirror" basically contains some of your previous works, so what does this album mean to you? SIG: It's a summary for me, because I think I'm a little better now, and I might go to the next stage. So this should be a summary of a stage, and I might return to this type in the future. All current works belong to the experimental stage. Here I thank my parents for their support, they gave me money I can buy a lot of time to complete this record, thank them. When I was in junior high school, I heard some foreign tapes. At that time, it was a style called rap or RAP. I was fascinated. At that time, I had such an idea. If I could improve this kind of music and turn it into my own style of music How cool it should be. But the overall environment made me not to do it right away, so I left it there. Until later, I started to form a band to play music and quit the band to make music by myself. I have some unclear pictures in my mind that I want to describe, but I don’t know what it is. I tried to describe this music to my friends. My friends gave me some The record says: Listen to this: DJ Krush. At first I thought this person didn't seem to make music. Until one day, on a quiet night, I heard some sounds that I had never heard. At that moment, some clues in my brain seemed to be connected in an instant. Suddenly I felt the world turned upside down, and my ears seemed to be open. Recalling those ideas when I was a kid, I think it’s still not too late to try it out. At that time, I was at home, started to make music, eat, make music, went out for a walk in the early morning, then made music, and then went to bed. During that time, it was very calm, and naturally there was no desire to torture people. Time is still. Like heaven.  CHA: Can you explain why the album title is called "SAD MIRROR"? What is it related to? SIG: Chinese means a mirror in sadness. I see some sadness in the mirror, or the mirror itself is sad. The name is instantly obtained. I can't give any explanation. I just think it is beautiful. I like that. You have me, I have your feelings. Most song titles in the album are similar combinations of four words. The earliest idea was to want a poetic feeling. From the earliest start of making music to the making of this music, it has changed a lot to myself, and it has completely changed. This music is something I have never thought of before, and there may be some clues before, But after listening to a lot of music, I suddenly had some connections, and all the clues were suddenly connected. For me, there will be an earth-shaking, black and white upside down change. The entire album should be like a suspenseful movie about myself, family, We are educated and humane. CHA: What kind of self do you see in front of "sad mirror"? SIG: What I saw should be a victim, a person who sacrificed himself. Many internal conflicts lead to someone who looks sad outside. I want to take out the contents and show it to others. I hope that I am the mirror. CHA: This album sounds completely different from your new music. The previous music was affected by many krush and shadow. Which musicians influenced your new music? Whose music do you listen to now? Which musicians have a qualitative influence on your creation? SIG: When I was five years old, I watched a Chinese movie about break dance. It was performed by gold panning. I really like that kind of dance and rhythm. It always gives me a feeling that the rhythm should be internal. Let your Every cell is active, beating according to its own specific law, but it should not be at a constant speed, something that is not clear, but I always think that is the root. A lot of music influenced me to make this kind of thing clear gradually. The enlightenment was Krush. Later on, it was Babatunde Olatunji called Circle of Drum. There were also some dubstep artists, burial, and coordinates9. Pinch, Detroit techno, deep house, old hip hop and some people who have only heard but don't know the name, and their music has what I want. There are also many good djs around me. I will listen to them and play music, and I will learn something. I am always more sensitive in this regard. Basically, the qualitative change is from making music and then pursuing the sense of picture in music to the recent attempts to draw directly with sound. CHA: In China, there is neither sales nor attention to the release of albums. In this case, what kind of people are you doing to release this album? Or what kind of people would you like to listen to your album? SIG: For myself, I will have some moments of loss or melancholy, a fall that you cannot control, as if attracted to a certain black hole, you will come to the labyrinth in your heart, you will feel confused and Helpless, but usually at this time, some of the books you have read, or the movies you have seen, or the concerts you have heard appear, they seem to have been waiting in the dark, they will tell you with a smile, go here, Do not be afraid. I think they are great. I want this too. I also hope to meet the audience in the dark through music. At first I didn't think about who would listen, but one day, my mother came and asked me if I made the song in her mp3? Very nice. I remembered that I used her mp3. So I especially hope to fill those generation gaps or gaps. I hope to listen to your parents, but also hope that parents listen to their children. I hope that parents can understand that children are instincts. Every child is different and will have something good at. Parents should protect these things. CHA: Music should be entertaining, cultivating the public? Or is it aimed at the heart and facing the self? SIG: To me, music is like a way out of my soul, and I am faced with your own gods, or yourself, subconscious, and the like that you don’t know. Music is not a joy for me. It is a way for me to resolve my internal conflicts. Like writing a diary, I have to write something every day to record some of my unspeakable feelings. I feel that the world of music enters from the top, and then goes deeper and wider, and it looks like a pyramid. Many music focuses on the conflict between physical and reality, I prefer to focus on the conflict between self and non-self. However, I personally feel that all people have some common feelings at a certain level. Some music reaches this level and people should like it. Although I don’t know why I like it, I think this is good music. Can't say entertainment or edification, because everyone has this feeling, and everyone can't tell. Since you make your own things when you make music, do things that no one can make anymore.  CHA: Do you think you are the kind of person who has a serious internal struggle? Is this a kind of torture? SIG: Every day, it should be considered a kind of torture. But without such conflicts and struggles I might not make music. CHA: Have you ever experienced a very dark period in life? If so, how does it feel? SIG: Yes, twice. The first one or two months, the second two or three months. To use ordinary words to describe it is "collapse". Basically, during that time, I woke up from a nightmare every day, I woke up from a terrible dream, and then you wanted to go to a place, but you don’t know where that place is. You will go out no matter what time is 4:5 or what time, put on some clothes, and keep walking. You can’t see anything around. In that case, you can only go home and make music. There is no other way. Think of many messy things. If you want to bask in the sun, the sunlight is also very good, but you can’t sit there and you want to go to a place. Then I went home and made a concert and slowly forgot about it. When I went to bed, I lost sleep and sweated all over, and then repeated this. But slowly it was better again. CHA: Did you ever think you would get better during that time? Or think you might be crazy. SIG: I didn't think it would get better. I thought it was crazy, it was terrible. After the first time, I feel that I have experienced it once, and the second time I should have immunity or experience to solve this problem, but when the second crash comes, the darkness is already beyond imagination. Too. At that time, I was already conquered. In this darkness, I can no longer tell the difference. CHA: What kind of people are you in contact with now? How do they affect you? SIG: Now I have few friends. I came to Shanghai just to experience the feeling of loneliness by myself, a kind of loneliness. There used to be a lot of friends who would make trouble, but now I feel a little tired. It's a test of yourself. Most of them are friends who talk about music, and some friends, they basically will not take the initiative to find me, when I have time, I go back to find them, at this point I am more selfish, but when I go to find them, they Still smiling, as if playing together yesterday, they gave me a sense of security. CHA: What is the next plan? SIG: To accumulate and make some new music, the progress may be slow. If you do some singles, you will not release this album form, and you may release two or two songs. CHA: Through what channels can you buy your album and follow your trends? SIG: It may be sold on Taobao. I will tell you when it is set up. In addition, on Douban, soundcloud can also hear my music. SIG "Sad Mirror" album debut: April 8 at The Shelter Start at 10pm

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SIIIG - Wild Boar, Pt. 3

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SIIIG / Album “Drama of Freedom" released on 2020.06.04. Listen.#Drama of Freedom #SIIIG#Album#beat https://www.instagram.com/p/CBBFdB6lbeC/?igshid=i558tj1eb0rj

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SIIIG tour dates

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Artist/DJ from China.Used name SIG. Real name Chen Jian(Born August 20, 1981 in Qingdao, China). SIIIG's music emphasizes paranoid beats, psychedelic atmosphere and spiritual details. Drawing from a palette of of Dharma art in Tantra, his sound surfaces from an ocean of subconscious. SIIIG collaged a special, transcendental, personal music style that no one else has. 2004，he began to create electronic music. 2010, the single "Cn Patients" was released in EXPO compilation . The work was broadcast on the American TV station Global Hits. 2011, his first album "Sad Mirror" was released.His rating is still the highest in China. Among them, the representative work "Clockwork Password" was appreciated by Japanese Hip-Hop godfather DJ Krush and remixed on the tour in China. 2011, he was invited as a live guest on Caribou, Tricky , ,DJ Shadow , Samiyam,Daddy G,the main brain of Massive AttackMassive Attack 2014, he was selected as a student of the first Beijing International Red Bull Music School. 2015, he collaborated with the ninth Chakme Rinpoche to distribute the single "The Boundless Light ". 2015 Followed Chakme Rinpoche to study Dharma for three years 2016, he produced 六字真言(直贡澈赞法王念诵) ，chanted by Drikung Kyabgon Chetsang Rinpoche using The Drikung Kagyu's unique "Mani Eight Melody tones. 2020, He back to the music and changed his name to SIIIG 2020 release "Shadow Loft”"Chi No Rhythm""Drama of Freedom""666"

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Demo