Noise Story

After a year-long hiatus, Beijing's underground noise festival Sally Can't Dance (SCD) returns this weekend. Its much anticipated return celebrates not only the still-nameless reincarnation of former host venue D-22 at its new Di'anmen location, but also a tremendous feat in the international noise scene - festival revelers will actually outnumber performers in the crowd.

"Your audience is always changing, but it's never shrinking or growing for that matter," laughed returning artist Junky, who for eight years has performed with Shanghai-based harsh noise group Torturing Nurse.

Specializing in walls of aggressive, over-driven feedback, Torturing Nurse headlines Friday's heavier billing. And group members promise they won't be offended if you bring earplugs.

"I wouldn't blame people for taking them, its difficult music," Junky said. "But if you know how to listen, you can hear freedom in it."

The festival is more than just an aural attack though, with over 25 artists from across China's music periphery gathering for the two-day jazz improv and indeterminate music fest of all flavors.

Although intimidating for the uninitiated, Junky offered words of advice to would-be appreciators.

"You have to see it live," he urged. "It's about watching something being created where there is no way to predict the outcome. Seeing it happen is the easiest way to understand it."

Much like the artists' prime obsession, the festival itself is an experiment in combinations.

"The scene is a multi-headed organism," said festival co-organizer Josh Feola of Beijing's young experimenting musicians. "It's about encouraging new combinations of musicians and collaborations."

"I might not always be into it, but I'm not going to be bored with it," he added.

As festival curator, feedback artist and music critic, Yan Jun drives that point home even further with his Ad Hoc Improv Committee slated for Saturday evening.

Consisting of around 10 musicians playing different acoustic instruments, Yan explains he will call upon players randomly to join in, stop or play tout ensemble.

This indeterminate method echoes avant-garde composers such as Earle Brown and John Cage, the latter who derived some of his philosophies from classic Chinese text the I Ching.

"The wisest thing to do is to hear a sound suddenly before thinking has a chance to turn it into something logical, abstract or symbolical," Cage wrote in his 1952 essays.

"Chinese musical tradition was built on improvisation, freedom and creating sound in the moment," echoed Li Tieqiao, avant-garde saxophonist and SCD performer. "I think a lot of the Asian aesthetic is free expression, which really suits experimental music."

Yan, however, sells it in a different way. "People tell me this is really no different from the noise you hear on the street, but if you don't buy a ticket [to hear it], you'll never pay attention to it in the same way. We give you that opportunity," he implored.

And in case you were wondering, SCD will not be selling earplugs.

"That would be a good idea," Feola laughed. "We're actually more concerned with getting the venue put together. We literally just got the keys yesterday."

When: Saturday, Sunday, March 3, 4

Where: Unnamed venue formerly known as D-22, behind a roasted chestnut vendor at the corner of Di'anmen Inner Street and Di'anmen West Street, Dongcheng district

Tickets: 80 yuan (one day)/150 yuan (two-day pass), 60 yuan/100 yuan for students

Contact: www.pangbianr.com