Intimate Publics, Osheyack’s second album, is an homage to Shanghai, the city he has called home since 2012.

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Over the past ten years the producer has evolved from an avid club-goer to a key member of the vital soundscape that emerged from ALL Club and its predecessor, the now defunct club The Shelter. As hinted by the title, which draws on American social theorist Michael Warner’s work on publics and counterpublics, the album expresses a commitment to mining the utopian potential of club music, forging new worlds and generating future social relations, just as the artist bids farewell to the city at a moment of uncertain transition.

在过去的十年里,这位制作人已经从一个狂热的俱乐部观众演变为ALL俱乐部及其前身–现已解散的俱乐部The Shelter–所产生的重要声景的关键成员。正如专辑名称所暗示的那样,它借鉴了美国社会理论家Michael Warner关于公众和反公众的工作,专辑表达了对挖掘俱乐部音乐的乌托邦潜力的承诺,打造新的世界并产生未来的社会关系,正如艺术家在不确定的过渡时刻向城市告别一样。

While tracks like ‘Edging’ and ‘Thrall’ continue to present his signature collage of harder club music, the rest of the record reveals a shift to synthetic approximations of acoustic instruments. ‘Still’, the central track of the album, is a piece composed almost entirely of samples found on Vocaloid (a vocal synthesizer developed by Yamaha, commonly used to give voice to Japanese virtual idols). While echoing themes explored in previous projects, like the nature of realism and authenticity in a techno- mediated landscape, Intimate Publics is charged with an unexpected emotional candor and vulnerability, unveiling a personal side Osheyack is only beginning to explore.


Written by Alvin Li

作者:Alvin Li

Photo Dre Romero

Osheyack Biography

Osheyack is a producer and musician based in Shanghai who’s work fuses elements of IDM with gabber, techno, ambient and drone music across a broad spectrum. An integral member of Shanghai’s burgeoning electronic music scene that centers around ALL Club, he is also often featured soundtracking frequent collaborator Shuang Li’s video work.

His profile grew considerably in 2018 with his release of two EP’s, ‘Empty Hell’ on SVBKVLT and ‘Proof of Concept’ on CGI, as well as his critically acclaimed debut album ‘Sadomodernism’ on Bedouin Records. In 2020 he released the EP ‘Memory Hierarchy’ on SVBKVLT and in 2021 he collaborated with label mate Nahash for the much heralded EP ‘Club Apathy.’

He has performed at events such as Unsound Festival, Ø at Corsica Studios, Boiler Room, and Wetware Festival among many others


Osheyack是一位居住在上海的制作人和音乐家,他的作品融合了IDM、Gabber、Techno、环境和无人机音乐等多种元素。他是以ALL Club为中心的上海新兴电子音乐场景中不可或缺的一员,他也经常为经常合作的李爽的视频作品配音。2018年,随着他在SVBKVLT发行的《Empty Hell》和CGI发行的《Proof of Concept》两张EP,以及他在BedouinRecords发行的广受好评的首张专辑《Sadomodernism》,他的知名度大大提升。2020年,他在SVBKVLT发行了EP《Memory Hierarchy》,2021年,他与厂牌伙伴Nahash合作推出了备受瞩目的EP《Club Apathy》。他曾在Unsound Festival、Ø at Corsica Studios、Boiler Room和Wetware Festival等活动中演出。

Qiu Xiaofei (Cover artist)

b. 1977, Harbin, China

Qiu Xiaofei’s paintings—along with related drawings, sculptures, and installations—evoke a dreamlike state of memory and awaken the potentials of perception that are hidden in the depths of the mind.

His current multi-disciplinary work combines drawings with sculptures and act as a chronological recorder of the artists’ history. As he explores various parts of his memory or “thought diversions” as Qiu Xiaofei calls them, they allow him to delve deeper into his “procedural, subconscious and personal experiences.”

Qiu’s work has been featured in major group exhibitions internationally, including Back, Beijing Contemporary Art Museum (2001); Mahjong: Contemporary Chinese Art from the Sigg Collection, Kunstmuseum Bern, Switzerland (2005); The Real Thing: Contemporary Art from China, Tate Liverpool (2007); ON | OFF: China’s Young Artists in Concept & Practice, Ullens Center for Contemporary Art, Beijing (2013); My Generation: Young Chinese Artists, exhibited jointly by the Tampa Museum of Art and the Museum of Fine Arts, St. Petersburg, Florida (2014); and Discipline with Master’ s Dignity – Teaching & Research, Central Academy of Fine Arts, Beijing (2018).

他目前的多学科作品结合了绘画和雕塑,并作为艺术家历史的按时间顺序的记录者。当他探索他的记忆的各个部分或邱晓飞所说的 “思想转移 “时,它们让他深入到他的 “程序性、潜意识和个人经验”。仇晓飞的作品已经在国际上的主要群展中出现,包括《回来》,北京当代艺术馆(2001);《麻将》。来自希克收藏的中国当代艺术,伯尔尼美术馆,瑞士(2005年);真实的东西:来自中国的当代艺术,泰特利物浦(2007年);ON | OFF:中国年轻艺术家的概念与实践,尤伦斯当代艺术中心,北京(2013年);我的一代。中国青年艺术家,坦帕艺术博物馆和美术博物馆联合展出,圣彼得堡,佛罗里达州(2014年);以及具有大师尊严的学科–教学与研究,中央美术学院,北京(2018年)。