殘燼 Embers of the Void

收錄在B E N N即將於倫敦廠牌Precious Metals發表的全新專輯〈Chaos and Order〉

汲取道家宇宙觀的啟發，B E N N以破碎的節奏、崩解的結構與顆粒化的數位腐蝕，呈現陰與陽之間不斷流轉的張力，創造獨樹一格的電子音樂美學。

整張專輯中，節奏成為儀式，形式處於持續瓦解與重組的狀態；在這裡，所謂的glitch不再是錯誤，而是一種源於不完美、走向轉化的美學。

這個計畫拒絕「解答」或「解決」，反而傾向向內塌陷、持續變形：既私密又具概念性，既敘事又堅守非線性。整體聽感中，B E N N在Post Club語境與更深層的抽象聲響探索之間游刃自如。

〈殘燼 Embers of the Void〉不以舞曲的推進為目的，而將其作為解構自身的工具，在一段令人意識扭曲的聲響旅程中，讓節奏退居幕後，將主導權交給不斷突變的質地與氛圍。

而在專輯的其他篇章中，陰鬱的音色與吞噬般的聲音設計四散其中，每一首都從不同角度回應作品的道家底蘊。

最終，這些曲目匯聚成一段完整且獨具一格的聆聽旅程，充分捕捉了B E N N 極具個性的實驗性願景。

Drawing from Taoist cosmology, B E N N weaves fractured rhythms, collapsing structures and granular digital decay to embody the shifting interplay of Yin and Yang, entropy and order locked in constant flux.

Across the album, rhythms become rituals and forms exist in states of perpetual disintegration and reassembly, where glitch is not error but an aesthetic of imperfection and transformation.
The project resists resolution, favouring inward collapse and continual metamorphosis: intimate yet conceptual, narrative-driven yet defiantly non-linear. Throughout, B E N N moves fluidly between post-club terrain and deeper zones of abstract sonic inquiry.

‘殘燼 Embers of the Void’, “employs dance music not as propulsion but as a tool of dissolution” in a mind-bending listen where rhythm takes a back seat, allowing mutation and atmosphere to drive the track’s forward momentum.

Elsewhere, the project is scattered with ominous tones and engulfing sound design, each piece approaching its Taoist grounding from a different angle.

Together, the tracks unfold into a cohesive and singular front-to-back journey that fully captures B E N N’s uniquely experimental vision.

Bandcamp: https://preciousmetalsx.bandcamp.com/album/chaos-and-order