Chinese language singer-songwriter Zhu Jingxi reinvented herself as cyborg persona Akini Jing in 2019, drawing inspiration from the futuristic aesthetics of Neon Genesis Evangelion and the magical realism of Thai director Apichatpong Weerasethakul. Her synthpop explores the connection between know-how, humanity, and consciousness—a imaginative and prescient exemplified by 2020’s “Plastic Heaven,” whose music video mixed cyberpunk imagery with mundane scenes of day by day life because it criticized the superficiality of Chinese language pop star fame. On the current idea album 永无止境的告别 (Countless Farewell), she and Shanghai-based producer Chace conceive a multiverse the place every monitor represents its personal parallel world. As Akini Jing explores know-how and the divine, Chace likewise pulls us into completely different universes, experimenting with IDM, synthpop, and area disco.
On the spotlight “Blessing,” Akini Jing races towards a thrumming liquid funk beat, mirroring her battle to keep up selfhood amid digital noise. “Watching the cosmic afterglow from the entrance of the TV display screen,” she sings in a daze, mistakenly believing she will be able to glean one thing from the static. Makes an attempt to shake herself finish in failure—shouts collapse again into emotions of isolation and invisibility, and shortly Chace intensifies the beat. Whereas the only edit is a decent onslaught of drums and synths, the album edit provides “Blessing” the area it deserves, wedging laborious breakbeats and mechanical sirens between vocal sections. By the prolonged outro, the tune’s dimensions begin to crumble, and its off-rhythm drum fills and wonky synth converge in the direction of nothingness.
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|Artist||:||朱婧汐 - Topic|
|Type of file||:||Audio/Video (.mp3 .mp4)|
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