Mindy Meng Wang, Sui Zhen – Origin of You Review

What does Mindy Meng Wang, Sui Zhen sound like?

If Tanya Tagaq was more relaxed and played the guzheng.

The review of Mindy Meng Wang, Sui Zhen – Origin of You

It is interesting how collaborations can see you bounce across various genres and ideas with an artist. I first discovered experimental composer Mindy Meng Wang with her collaboration with electronic composer Tim Shiel. Mindy then released her own album ‘Pheonix Rising‘ which explored transforming a guzheng from traditional to experimental industrial drones. Now in her new collaboration with Becky Sui Zhen, we merge into the ambient drone space.

This six track, near 40-minute album is all about self-discovery. Each piece has a different mood but largely involves Mindy’s guzheng skills, Shi Zhen’s effect processing and both perform vocals throughout the release. Whilst the album feels improvisational, that doesn’t mean it lacks structure or melody. Tracks such as ‘March’ are meditative and flowing like a nursery rhyme. Mindy and Becky’s vocals are light, airy and carry an innocence to them. They aren’t always in tune and have a child-like rumbustious quality. It’s endearing and in the quieter moments, it’s definitely a plus. Add in some bulbous bells and chimes and you have something rather lovely.

‘Chi’ is another beautiful drone-based relaxing track that feels luxurious to the ear. ‘Watch My Mum Dance’ is like taking a journey back in time to a memory. Starting off with spoken word before hearing birdsong and room noises of a family room, a traditional dance motif kicks in with woodblock backing. It’s like a vivid memory audiobook and very sweet. Spoken word is also used in the opener ‘Kong’ (Emptiness) which uses hollowed gong effects to make an empty drone for the guzheng to gently flit around.

Not everything is calming though. ‘I Don’t Speak Your Language’ has an aggressive beat as the guzheng and a synth bass wrap and twist through bent strings and harmonics. Mindy and Becky are trying to communicate with each other in different languages and not really getting anywhere. It stands out from the rest of the album tonally and sonically. So does ‘Teng’ (Pain). What starts out as a dissonant guzheng twang develops into a sawing detuned and warped fracturing sound. Over the course of seven minutes, the sonic pain of the notes becomes more aggressive and eerie as numbed vocal mumbles creep in. It is a real performance piece that fans of horror soundtracks and old folklore will enjoy. Across the album, there is a vocal breathwork that crops up and it reminds me of a really relaxed Tanya Tagaq. It never turns into Inuit singing but the laboured mumbled sighs remind me of her. That is the sole reason I’ve used the description in my title but you could also draw parallels around using experimental music to display traditional music traits too.

That brings me to my main conundrum. Who is this album for? I think fans of traditional Chinese music will enjoy sections of it but ambient and experimental fans will enjoy it far more. Whilst the guzheng is the central pivot and star of the record, its themes and ideas are much more universal. Mindy Meng Wang and Sui Zhen are translating emotions and memories into sound pieces – in some cases quite literally. I think if you approach the album from that standpoint, you’ll appreciate the sound design and mixed sound palette more.

Recommended track: I Don’t Speak Your Language

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