TAIWAN-BASED MUSIC GROUP
A MOVING SOUND
ANNOUNCES DEBUT NORTH AMERICAN CD RELEASE
OUT 9.13.11 ON MOTEMA MUSIC
"One of the most original outfits working in the world music arena today"
– Tom Pryor, NATIONAL GEOGRAPHIC WORLD MUSIC
Asia has yet to make much of a mark on the ever-growing world music scene. But if there is one group poised to change that, it is A MOVING SOUND (AMS). Drawing on the rich culture of Taiwan, a beautiful island off the coast of China where ancient Chinese traditions flourish as nowhere else -- including on the mainland -- the sound of AMS captures the way these ancient traditions jostle with the open, sophisticated, and avant-garde styles that have been welcomed in Taiwan in the two decades that have passed since the end of martial law. AMS has fashioned a exquisite, accessible and, yes, quite "moving" sound that speaks eloquently of its unique country of origin, while at the same time speaking in a universal language to listeners around the world.
In the decade since AMS was formed in Taipei by Mia Hsieh and Scott Prairie, the group has released three albums in their native Taiwan: Little Universe (2004), Songs Beyond Words (2007) and Starshine (2009). AMS has played many major tour dates in North America and Europe, including a successful showing at the influential WOMEX Festival in Seville in 2006. They were featured artists in a special program on Taipei presented by the Lonely Planet television series, and have been profiled in The Huffington Post, Public Radio International's The World, Link TV, Taiwan Public TV, and BBC Radio 3's World Routes.
THE HISTORY OF A MOVING SOUND
The story of AMS begins with the personal and artistic journeys of its two founders, American musician Scott Prairie and Taiwanese singer and dancer Mia Hsieh.
Scott grew up in small town outside Pittsburgh, fated, or so his family believed, to a career in classical music. He played French horn and was accepted into the prestigious Carnegie Mellon School of Music. "Then one night with no prior thought, I just stopped," he says. He spent some time in a psychology doctoral program and more time traveling through Europe before music called once again. But this time he returned not as a classical musician, but as a singer-songwriter and experimental composer, working with Wharton Tiers (Sonic Youth) and guitarist Mark Ribot and performing at New York City clubs including The Kitchen and The Knitting Factory. It was there he first met Mia, who was visiting New York for her first time.
Mia's parents were part of the wave of some two million people who fled to Taiwan with Chiang Kai-Shek at the end of a civil war which left the Communists in control of mainland China. Unlike Scott’s family, the sole concern for Mia’s family was survival in their new Taiwanese home. “There was nothing about art ... just be successful,” says Mia matter-of-factly.
After Mia returned to Taiwan, Scott followed a few months later, and in the nine years since, neither has ever looked back. They explored experimental and traditional music, and incorporated multimedia, dance and costume into their work (their costumes are specifically designed for the group to reflect their music). Even their name is a reworking of familiar terms - first in Chinese as Sheng (sound) Don (movement), which they then translated into English as A Moving Sound.
Chinese instruments - especially the erhu (two-string vertical fiddle) and zhong ruan (or "moon guitar," a four-string lute) - give the music of China its distinctive texture. AMS both returns these instruments to their original role as solo instruments (a role that disappeared as China adopted Western orchestral concepts) but also innovates within that ancient tradition. Traditional Chinese music styles serve as an inspiration and as the foundation for several compositions on the CD. The ancient, meditative, and elegant "nan guan" style (more carefully preserved in Taiwan than the mainland) is the source for "Gu Qin," with lyrics based on a famous 11th century poem. AMS also incorporates Taiwanese aboriginal and folk influences. "Ghost Lake" is a reinterpretation of a traditional tale sung in both an aboriginal dialect and an experimental vocal style. Taiwanese folk music inspired "The Market Song," a popular concert number depicting the market where Mia's parents worked.
"The album goes from the heavens to the earth," Mia explains. "Songs like ‘Silk Road’ and ‘Gu Qin’ are the meditative, transcendental side, but the CD also has very earthy songs like ‘The Market Song’ or ‘Toh Deh Gong,’ which is a modern talking song, like rap, but the lyrics explore the traditions of how people worship the God of Earth, the most popular god in Taiwan. So this is folk culture, but it is also grounded in a very ancient Chinese philosophy and religion."
"Taiwan has only been free from martial law for 20 years,” Mia notes, “so only now are some of these new influences coming in. But it's even more restrictive in China. Taiwan is seen as more avant-garde, as more progressive and sophisticated in comparison. When we started, not many people even knew what world music was here, and now more and more groups are wanting to try things. We believe music is a channel and a way to connect with people in a positive way, to go on a journey together. We want there to be no boundaries."
ARTIST WEBSITE:
www.amovingsound.com
