李克非

2024年《369》发行后，李克非结束了长达7年的“非林波克要塞”创作周期，以《≡》为序，先后推出了科幻音乐小说《非林波克要塞》、沪上地标音乐《福州大楼》、澳洲旅居音乐随笔《purple boy》还有若干风格各异的单曲，在这7年里，李克非用音乐来试探和了解自己与周遭的关系，捕捉那些不易显露的情感和认知，就如同他在音乐记者麻乐的专访中说道”音乐总能让我一丝不挂“，他在音乐中重新认识了自己。 而在2023年，李克非也已开始了企划已久的新音乐项目，在经历了疫情和更多元的社会体验后，他走出居室、走出录音室，用一段段旅程来完成新专辑的创作，从三清山到天坑岩洞、从德令哈光伏发电站到人工菌培育大棚，还有苏浙巷弄的书场、泉州转目皆是的神龛…… 让音乐回到场景中，让周身节律顺应自然，这是他自身迫切需要用以化解网络围剿和制度收割的行动，也是他朝向工业社会的音乐宣言。 After the release of ‘369’ in 2024, Kofey concluded his seven-year Phlinpock Project. Beginning with ‘≡’ as a prelude, he successively released the sci-fi music novel ‘Phlinpock’, the Shanghai landmark-inspired ‘Hamilton House’ , the Australian travel music essay ‘purple boy’, and several singles of varying styles. Over these seven years, Kofey used music to explore and understand his relationship with himself and the world around him, capturing emotions and perceptions that are not easily revealed. As he said in an interview with music journalist Male, "Music always can strips me bare." Through music, he rediscovered himself. By 2023, Kofey had already embarked on a long-planned new music project. After experiencing the pandemic and a more diverse range of social encounters, he stepped out of his home and the studio, embarking on journeys to create his new album—from the peaks of Mount Sanqing to the depths of karst caves, from the Delingha photovoltaic power station to artificial mushroom cultivation greenhouses, and from the Shuchang(storytelling halls) of Jiangsu and Zhejiang to the omnipresent shrines of Quanzhou. Returning music to its natural settings and letting the rhythms of the body align with nature became both a personal necessity—a way to dissolve the siege of the digital world and institutional exploitation—and his musical manifesto against industrial society.