Flora Yin-Wong’s fusion of experimental electronics with organic sounds is an absorbing one. A multi-disciplinary producer and DJ, the London artist has, in a relatively short period, released tracks and EPs on revered labels including PAN, PTP and C.A.N.V.A.S. as well as remixing friends and contemporaries such as J.Colleran, Giant Swan and Scintii.
Her sound veers from the percussive, glitchy and melodic to the sparse, ambient and engulfing. One need only turn to the lush ‘Lugere’ from PAN’s ‘mono no aware’ compilation or to her debut tape ‘City God’ on PTP to get a sense of the immediacy and lucidity that has defined her output to date.
‘City God’ also presented Yin-Wong an artist whose music was rooted in concept. Using a wealth of traditional Cantonese sounds (from opera to yangqin recordings), Japanese kotos and other traditional instruments along with her vivid electronics, the EP explored ideas surrounding Chinese folk religion and the belief in a deity who “would provide divine protection to a city's physical defences".
“This is something that is really important to me,” she tells DJ Mag, speaking of the significance of her work’s thematic basis. “These ideas have rooted my lifelong tastes. I guess subconsciously via my singer/opera-writer mother and my grandfather's involvement in Cantonese opera in Hong Kong, Guangzhou and the UK. My current work is based around a collection of ideas which bring together my written work and fiction with music and visuals.”
Her musical growth has been gradual and varied, with an early interest in club sounds developing in tandem with classical and new-wave music making it only seem only natural that her output would tick so many diserpate creative boxes now. From listening to garage on her walkman aged 11 in her “shit school” in Camden, to discovering post-punk, DMX, techno and house as the years went on, her stylistic course has been rich.
“I started playing the violin aged seven, then saxophone and clarinet, self-taught on guitar, was in choirs... I first started playing with production like nine years ago but I wasn’t very good so I stopped trying. I got back into it couple years ago, accidentally set something public on Soundcloud and was asked by PTP to release it.”