Non-Confined Space is an electronic improv duo created by Sonic Deadhorse (Guitar, Electronic, Live Visual) and Minyen Hsieh (Saxophones, Woodwinds) in 2014. Each has been treading in the ponds called Experimental Electronica and Contemporary Jazz respectively for many years, now they are back with a bounty of brand new chops.
Atom dicing up live samplings of their own sound, rearranging the microparticles, and then responding (or not responding) to them in real-time, Non-Confined Space breaks through the wall of genre to trailblaze on new ground. The duo encourages the spectators (or witnesses, even) to join in on the jam with their own unique perspectives to give meaning to the art they perceive.
(專輯介紹)
非/密閉空間《Flow, Gesture, and Spaces》
肉身，乃靈魂之容器
機械，乃物理之極意
兩者合璧之地，一切音樂規則必將瓦解
人們稱該界域為
【非/密閉空間】
音速死馬╳謝明諺
一人三頭六臂，雙人六頭十二臂
精密機械遇上頂尖肉身，全新即興狂團
兩大金音獎最佳樂手，挑戰彼此極限共演
逸出電音與爵士框架，自由是這種音樂的名字
許郁瑛、林偉中友情跨刀
首張專輯《Flow, Gesture, and Spaces》
「你有沒有空，來熱音社玩一下？有個吉他手很厲害！」
謝明諺還記得大一那年這件微不足道的小事。有人熱切地邀他到社團一起 Jam 看看，只因為一位大了好幾屆的學長彈起爵士吉他猛猛的。當時一頭金髮痞樣的謝明諺已然醉心於爵士演奏、也在校外參加樂團，二話不說便赴約前往。至於那身懷絕技的爵士吉他手，平常如隱士一般，沒事會在學校裡釣魚，當時還不叫作音速死馬。這不是武俠小說，兩人首次相遇倒沒什麼驚天地泣鬼神的傳奇。其後，音速死馬轉行鑽研電子音樂，謝明諺休學出國專攻爵士。過了十年，卻恰巧在同一時間發行各自的專輯，看似兩條平行線逐漸交會，也慢慢在前衛即興的表演場子相遇。2015 年，兩人開始合作全即興演出。擔綱薩克斯風、長笛的謝明諺是發聲源，音速死馬則身兼取樣、效果器、節奏、影像等延伸重構機件。肉身演奏遇上機械操縱，製造出無以名狀的聲音維度，打破耳朵長期習慣的四面牆，此即為科學上未曾被定義的「非/密閉空間」！
經過四年醞釀，非/密閉空間終於打造出首張專輯《Flow, Gesture, and Spaces》。名稱取自音速死馬時常研讀的自由爵士專書，將兩人長期的即興默契濃縮於此。有別於平時完全不排練的現場演出，他們為專輯特地創作十首歌曲，並邀請許郁瑛、林偉中兩位超級樂手友情跨刀，將聽眾捲進混亂的異次元。西非節拍、Trap 聲效、Coltrane 和聲不規則登場，飽含各式雜訊能量，爆炸得很浪漫，舞動得很詭怪。如果厭膩了日常人世間的聽覺，隨時可以盡情讓自己在非/密閉空間裡被擠壓輾碎、攪拌化合，離開時候就是不一樣的靈魂。
(On the album)
Objects and textures
Realizing this metaphorical symbolism into sound
Sonically, nothing out of necessities
Summon the long forgotten structural aesthetics
Apply scales and sounding objects as method
Deconstruct the tedious symbols and legends
Reroute them non-linearly, but orderly
Connecting the signals
Sublimating the pure, unpredictable noises
The reemergence of subtle messages from the symbols
Not confined in the realm of muscle memory between instruments and performers
Free-Improv always resides in the flow of conscious
In the blindly fanatic worship of Sun Ra
In the anarchist riots by Atchie Shepp
Or it could be just a well calculated, controlled-chaos
Throw in a new dimension to live performance as a variable
Reify the essence of the sound
Be it the pitch
The length
Or the texture,
Use the interaction of limbs, bodies, and gadgets within the performance as the medium
To translate
Transform
Or transcend the sound
Or even a live-sampling reconstruction of the desymbolized sound
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