Abstract
As social media platforms emerge and occupy pretty much everything in our daily life
starting from 2010s, their impact on regional club scenes has yet to be properly studied.
This chapter first begins with a survey on an emerging genre of music called Deconstructed Club Music on the internet and is followed by an autoethnographical account of my participation of Hong Kong Underground Club Music Scene from 2016-2018. Following the framework of ‘Translocal’ music scene by Andy Bennett and Richard A. Peterson, I investigate the connection in between Deconstructed Club Music and Hong Kong’s underground club scene through analyzing the cases of XXX Gallery, Hong Kong Community Radio, and the music label Absurd TRAX.
starting from 2010s, their impact on regional club scenes has yet to be properly studied.
This chapter first begins with a survey on an emerging genre of music called Deconstructed Club Music on the internet and is followed by an autoethnographical account of my participation of Hong Kong Underground Club Music Scene from 2016-2018. Following the framework of ‘Translocal’ music scene by Andy Bennett and Richard A. Peterson, I investigate the connection in between Deconstructed Club Music and Hong Kong’s underground club scene through analyzing the cases of XXX Gallery, Hong Kong Community Radio, and the music label Absurd TRAX.
| Original language | English |
|---|---|
| Title of host publication | Fractured Scenes |
| Subtitle of host publication | Underground Music-Making in Hong Kong and East Asia |
| Editors | Damien Charrieras, François Mouillot |
| Publisher | Palgrave Macmillan |
| Chapter | 13 |
| Pages | 173-185 |
| Number of pages | 12 |
| Edition | 1 |
| ISBN (Electronic) | 978-981-15-5913-6 |
| ISBN (Print) | 978-981-15-5912-9, 978-981-15-5915-0 |
| DOIs | |
| Publication status | Published - 21 Mar 2021 |
Bibliographical note
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