Pan Daijing – Lack 惊蛰

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Beautifully by-passing our expectations, performance artist/musician Pan Daijing’s 1st major work Lack yields a spellbinding demonstration, or “purgative ‘finale’”, to her improvised live performances over the past two years; a far more nuanced and probing suite of electronic gestures that you’d be lead to predict from her gnarled handful of slamming, salty tapes and 12”s for Bedouin Records, Power Vacuum or Noisekölln Tapes since 2015.

Extracted and edited from field recordings and live documentation of her concerts made in Europe, China, and Canada, Lack would appear to be about presenting the truest portrait of Pan’s art – a multi-disciplinary act where improvised sound and movement feed off one another in a painstaking mental and physical practice that draws energy from the moment, with Pan often instigating or encouraging “close physical interaction with strangers”.

For Pan, the reduction and selection of the recordings which make up Lack was “more like a psychoanalytical process” as she perceived herself as “this absurd, mad person ‘acting’ out the sounds… All things naturally came out of me”, and in the edit she effectively detaches and controls the listener’s gaze, offering what could be viewed as an almost voyeuristic document of those intimate, private live energies.

While severed from her physical performance, the filigree editing and scene selection strongly conveys a refined sense of narrative which Pan aptly describes as “an opera piece”, and in that manner holds us on the edge of our seats from the soaring soprano and flustered strings of Phenomenon thru the convulsive industrial throb of Act of The Empress, to the possessed folk energies condensed in The Nerve Eater and the closing trance induction of Lucid Morto with an effect recalling something like Diamond Galas conducting a court ritual with Black Mecha and Jani Christou.

Colour us smitten with this one. It’s an outstanding record.