© 2026. SIMON FRANK. ALL RIGHTS RESERVED.
© 2026. HELICOPTER RECORDS. ALL RIGHTS RESERVED. © 2026. CORD. ALL RIGHTS RESERVED.
SIMON FRANK - VICTIM OF A NEW AGE (TAPE)
상하이를 기반으로 활동하는 캐나다 출신 프로듀서 Simon Frank의 《Victim of a New Age》는 포스트 펑크, 뉴웨이브, EBM을 바탕으로 한 미래지향적 일렉트로 앨범이다. 냉소적인 보컬과 아시드 베이스라인, 왜곡된 브레이크비트, 더브 이펙트가 결합되어 아날로그적인 질감을 유지하면서도 현대적인 감각을 선명하게 드러낸다. 베이징에서 상하이로의 이동, 팬데믹 시기의 불안정한 삶, 그리고 William Gibson의 디스토피아적 세계관에서 영향을 받은 이 작품은 문화의 상업화와 현대 도시의 불안감을 독특한 댄스 뮤직 언어로 풀어낸다.
Victim of a New Age by Shanghai-based Canadian producer Simon Frank is a post-punk / new wave / EBM album balancing old-school analog textures with a sharp futuristic vision. Sneering vocals, acid basslines, warped breakbeats, and swirling dub echoes create a tense yet infectious sound shaped by life in Beijing and Shanghai during the pandemic years. Influenced by industrial music, 90s electronic culture, and the dystopian worlds of William Gibson, the album explores urban alienation, commercialization, and cultural anxiety through restless outsider dance music.
- From Shanghai, post-punk electro where outsider pop meets dance, poised between old-school and future-oriented styles. -
Mars89’s label Nocturnal Technology presents VICTIM OF A NEW AGE, a new wave and EBM-style album by Shanghai-based Canadian producer Simon Frank. Sneering vocals straight from the minimal synth songbook are paired with acidic basslines, warped breakbeats, and swirling dub echoes, creating an album that, while maintaining an old-school, analog-like atmosphere throughout, is also resolutely forward-looking.
Below is a message from the artist.
A few months after releasing my previous album in the summer of 2021, I bought an Elektron Digitakt sampler. After making music with fairly limited equipment for a while, I wanted to see how I could experiment with samples and less straightforward structures. Things took a while, in part because I moved from Beijing to Shanghai, and in part because Covid made life in China in 2022 a bit unstable, but eventually I learned how to use the new sampler to play and process breakbeats. This opened up new possibilities for me, and I found myself thinking about two albums where new technology helped industrial and punk mutate into something softer and funkier: Bourbonese Qualk’s My Government Is My Soul and Flux’s Uncarved Block. When I heard the Bourbonese Qualk album for the first time I was surprised how something so underground recalled some of the first electronic music I encountered as a kid—Fatboy Slim and the Chemical Brothers. I wanted to make something with a similar energy: weird yet infectious, and unafraid of being a little earnest.
I generally write songs at home, then perform them live to see what works, what doesn’t, and what little details might emerge through improvisation. I refined all the songs on the album by playing shows, both at rock venues and dance music clubs.
Even when the kick drum is four-to-the-floor, I’ve tried to use percussion, samples, and synth lines to bring a sense of movement or deceptive complexity to the rhythms. As I made the more breakbeat-driven or slower songs, I was thinking about vague memories of music I heard as a kid in the 90s, not only the mainstream artists mentioned above, but also stuff like projects by Bill Laswell (who my dad listened to a lot at the time), along with more recent discoveries for me like Scorn and Techno Animal. I wrote “Premonition” after walking around a Ming Dynasty tomb near my apartment on a very foggy afternoon, which might explain its gothy sound. I really like how “Pass” suggests some kind of proto dubstep, which wasn’t necessarily my intention when I started writing it.
Though Shanghai is in many ways a more comfortable place than Beijing, it is relentlessly commercial. As I wrote some of the lyrics I was thinking about what it means to create culture in a place where culture may just be another item for consumption. Towards the end of the time I spent working on the album, I was also reading a lot of William Gibson, which was inspiring not only for his prescient (dark) vision of the future, but also how he writes about the way we’re haunted by images and ideas from the past. Listening back, I think this theme surfaces in “Victim of a New Age” and “Classic Cars.”
- 上海発、アウトサイダーポップとダンス、オールドスクールと未来志向が交錯する、ポストパンク・エレクトロ -
Mars89主宰のレーベル Nocturnal Technology より、上海を拠点に活動するカナダ出身のプロデューサー、サイモン・フランクによるNew-Wave / EBMスタイルのアルバム VICTIM OF A NEW AGE が登場。ミニマル・シンセのソングブックからそのまま抜け出したような皮肉っぽいボーカルが、アシッドなベースライン、歪んだブレイクビーツ、渦巻くダブ・エコーと組み合わさり、全体を通してオールドスクールでアナログライクな雰囲気を保ちながらも、断固として未来志向なアルバムとなっている。
以下アーティストからのメッセージである。
アーティスト・ステートメント：
2021年の夏に前作のアルバムをリリースしてから数か月後、私はElektron Digitaktのサンプラーを購入した。しばらくの間、かなり限られた機材で音楽を作ってきたので、サンプルや、より直接的でない構造でどう実験できるか試してみたかった。制作には時間がかかった。理由の一つは北京から上海への引っ越しであり、もう一つは2022年の中国での生活がコロナ禍の影響でやや不安定だったからだ。しかし最終的に、新しいサンプラーを使ってブレイクビーツを演奏・加工する方法を習得し、それが新たな可能性を切り開いた。そして、産業音楽やパンクが新しいテクノロジーによってより柔らかくファンキーなものへと変化した2枚のアルバムのことを考えるようになった。Bourbonese Qualkの My Government Is My Soul とFluxの Uncarved Block だ。Bourbonese Qualkのアルバムを初めて聴いたとき、あまりにもアンダーグラウンドな作品なのに、子どもの頃に初めて触れたエレクトロニック・ミュージック——Fatboy SlimやThe Chemical Brothers——を思い起こさせたことに驚いた。私はそれと同じように、奇妙でありながら耳に残り、そして少し素直さを恐れないようなエネルギーを持つ作品を作りたいと思った。
私は普段、自宅で曲を書き、その後ライブで演奏して、うまくいく部分、そうでない部分、そして即興の中で現れる細かなディテールを確認している。今作の全曲も、ロックのライブハウスやダンスミュージックのクラブで演奏しながら練り上げた。
キックドラムが4つ打ちのときでも、パーカッション、サンプル、シンセラインを使って、リズムに動きや、見かけ以上の複雑さを与えるように心がけた。よりブレイクビーツ主体やテンポの遅い曲を作る際には、90年代に子どもとして聴いた音楽の曖昧な記憶を思い出していた。それは、前述のメインストリームなアーティストだけでなく、当時父がよく聴いていたBill Laswellのプロジェクトや、最近になって知ったScornやTechno Animalといったアーティストも含まれる。また、スウェーデンの The Flesh-Eating Bugs の2022年のアルバム Melting Pot にも影響を受けた。この作品は、まるでブレイクビーツを用いて作られたノイジーなインディーロックのようだ。「Premonition」は、非常に霧の濃い午後に、自宅近くの明代の墓の周囲を散歩した後に書いたもので、そのゴシックな音はその影響かもしれない。「Pass」については、書き始めたときには意図していなかったが、プロト・ダブステップのような響きがあるところが気に入っている。
上海は多くの点で北京よりも暮らしやすいが、容赦なく商業主義的でもある。いくつかの歌詞を書くときには、文化が単なる消費の対象にすぎない場所で文化を創るということがどういう意味を持つのかについて考えていた。アルバム制作の終盤にはウィリアム・ギブスンの作品を多く読んでおり、その先見的で（暗い）未来像だけでなく、過去のイメージや観念が私たちをどのように付きまとっているかという彼の描写にも刺激を受けた。振り返ってみると、このテーマは「Victim of a New Age」や「Classic Cars」にも現れていると思う。
Composed by Simon Frank
Mastered by Rei Taguchi (Saidera Mastering)
앨범은 그 속에 담겨 있는 정보 자체만으로 가치가 있기 때문에 단순 변심으로 인한 교환과 환불은 음악가의 저작권 보호를 위해 제한합니다.
사이즈는 측정 방법에 따라 오차가 있을 수 있습니다.
소비자의 부주의로 인한 변형에 대해서는 보상 및 책임이 어렵습니다.
배송 안내
오후 1시 주문완료 시 당일 발송됩니다.
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제품에 착용 흔적이 없는 상태에서 교환 및 환불이 가능합니다. 상품 또는 상품 포장지가 훼손 되었거나 택이 없을 경우 교환 / 환불이 불가합니다. 세탁한 상품은 교환/환불이 불가합니다. 단순변심 및 사이즈 오류로 인한 반송 사례는 고객님께서 운송비를 부담하여 주셔야 합니다. 모니터 해상도에 따른 색상, 질감 및 사이즈 오차는 단순 변심으로 접수됩니다. 제품 공정 과정 중 발생하는 마감 실밥, 열펜 자국 등은 불량으로 간주되지 않습니다. 5일 이내(주말, 공휴일 제외) 회수되지 않을 경우 기간 경과로 교환/반품이 철회될 수 있습니다. 반품 수령 후 검수 기간으로 인해 교환 / 환불 처리까지 영업일 기준 약 1-3일 정도 소요될 수 있습니다. 타 택배사 이용하여 직접 발송하실 경우 선불로 발송해 주셔야 하며, 반품 택배비에 한하여 부과되지 않습니다. 교환 배송비는 동봉 시 분실 위험이 있어, 계좌이체로만 진행됩니다. 교환 배송비 - 8,000원 교환 재배송은 회수 상품 도착일 기준으로 4영업일 이내 출고됩니다. *교환/반품이 불가능한 경우 교환 / 환불 방법에 대한 자세한 내용은 고객센터 FAQ에서 확인하실 수 있습니다. *고객센터 : +82 10-3878-1082 / 월,수,금 PM 13:00 - PM 17:00 환불안내 물류센터 도착일 기준 반입 여부 확인과 검수를 거쳐 4영업일 이내 결제 금액을 환불해 드립니다. |
© 2026. SIMON FRANK. ALL RIGHTS RESERVED.
© 2026. HELICOPTER RECORDS. ALL RIGHTS RESERVED. © 2026. CORD. ALL RIGHTS RESERVED.
SIMON FRANK - VICTIM OF A NEW AGE (TAPE)
상하이를 기반으로 활동하는 캐나다 출신 프로듀서 Simon Frank의 《Victim of a New Age》는 포스트 펑크, 뉴웨이브, EBM을 바탕으로 한 미래지향적 일렉트로 앨범이다. 냉소적인 보컬과 아시드 베이스라인, 왜곡된 브레이크비트, 더브 이펙트가 결합되어 아날로그적인 질감을 유지하면서도 현대적인 감각을 선명하게 드러낸다. 베이징에서 상하이로의 이동, 팬데믹 시기의 불안정한 삶, 그리고 William Gibson의 디스토피아적 세계관에서 영향을 받은 이 작품은 문화의 상업화와 현대 도시의 불안감을 독특한 댄스 뮤직 언어로 풀어낸다.
Victim of a New Age by Shanghai-based Canadian producer Simon Frank is a post-punk / new wave / EBM album balancing old-school analog textures with a sharp futuristic vision. Sneering vocals, acid basslines, warped breakbeats, and swirling dub echoes create a tense yet infectious sound shaped by life in Beijing and Shanghai during the pandemic years. Influenced by industrial music, 90s electronic culture, and the dystopian worlds of William Gibson, the album explores urban alienation, commercialization, and cultural anxiety through restless outsider dance music.
- From Shanghai, post-punk electro where outsider pop meets dance, poised between old-school and future-oriented styles. -
Mars89’s label Nocturnal Technology presents VICTIM OF A NEW AGE, a new wave and EBM-style album by Shanghai-based Canadian producer Simon Frank. Sneering vocals straight from the minimal synth songbook are paired with acidic basslines, warped breakbeats, and swirling dub echoes, creating an album that, while maintaining an old-school, analog-like atmosphere throughout, is also resolutely forward-looking.
Below is a message from the artist.
A few months after releasing my previous album in the summer of 2021, I bought an Elektron Digitakt sampler. After making music with fairly limited equipment for a while, I wanted to see how I could experiment with samples and less straightforward structures. Things took a while, in part because I moved from Beijing to Shanghai, and in part because Covid made life in China in 2022 a bit unstable, but eventually I learned how to use the new sampler to play and process breakbeats. This opened up new possibilities for me, and I found myself thinking about two albums where new technology helped industrial and punk mutate into something softer and funkier: Bourbonese Qualk’s My Government Is My Soul and Flux’s Uncarved Block. When I heard the Bourbonese Qualk album for the first time I was surprised how something so underground recalled some of the first electronic music I encountered as a kid—Fatboy Slim and the Chemical Brothers. I wanted to make something with a similar energy: weird yet infectious, and unafraid of being a little earnest.
I generally write songs at home, then perform them live to see what works, what doesn’t, and what little details might emerge through improvisation. I refined all the songs on the album by playing shows, both at rock venues and dance music clubs.
Even when the kick drum is four-to-the-floor, I’ve tried to use percussion, samples, and synth lines to bring a sense of movement or deceptive complexity to the rhythms. As I made the more breakbeat-driven or slower songs, I was thinking about vague memories of music I heard as a kid in the 90s, not only the mainstream artists mentioned above, but also stuff like projects by Bill Laswell (who my dad listened to a lot at the time), along with more recent discoveries for me like Scorn and Techno Animal. I wrote “Premonition” after walking around a Ming Dynasty tomb near my apartment on a very foggy afternoon, which might explain its gothy sound. I really like how “Pass” suggests some kind of proto dubstep, which wasn’t necessarily my intention when I started writing it.
Though Shanghai is in many ways a more comfortable place than Beijing, it is relentlessly commercial. As I wrote some of the lyrics I was thinking about what it means to create culture in a place where culture may just be another item for consumption. Towards the end of the time I spent working on the album, I was also reading a lot of William Gibson, which was inspiring not only for his prescient (dark) vision of the future, but also how he writes about the way we’re haunted by images and ideas from the past. Listening back, I think this theme surfaces in “Victim of a New Age” and “Classic Cars.”
- 上海発、アウトサイダーポップとダンス、オールドスクールと未来志向が交錯する、ポストパンク・エレクトロ -
Mars89主宰のレーベル Nocturnal Technology より、上海を拠点に活動するカナダ出身のプロデューサー、サイモン・フランクによるNew-Wave / EBMスタイルのアルバム VICTIM OF A NEW AGE が登場。ミニマル・シンセのソングブックからそのまま抜け出したような皮肉っぽいボーカルが、アシッドなベースライン、歪んだブレイクビーツ、渦巻くダブ・エコーと組み合わさり、全体を通してオールドスクールでアナログライクな雰囲気を保ちながらも、断固として未来志向なアルバムとなっている。
以下アーティストからのメッセージである。
アーティスト・ステートメント：
2021年の夏に前作のアルバムをリリースしてから数か月後、私はElektron Digitaktのサンプラーを購入した。しばらくの間、かなり限られた機材で音楽を作ってきたので、サンプルや、より直接的でない構造でどう実験できるか試してみたかった。制作には時間がかかった。理由の一つは北京から上海への引っ越しであり、もう一つは2022年の中国での生活がコロナ禍の影響でやや不安定だったからだ。しかし最終的に、新しいサンプラーを使ってブレイクビーツを演奏・加工する方法を習得し、それが新たな可能性を切り開いた。そして、産業音楽やパンクが新しいテクノロジーによってより柔らかくファンキーなものへと変化した2枚のアルバムのことを考えるようになった。Bourbonese Qualkの My Government Is My Soul とFluxの Uncarved Block だ。Bourbonese Qualkのアルバムを初めて聴いたとき、あまりにもアンダーグラウンドな作品なのに、子どもの頃に初めて触れたエレクトロニック・ミュージック——Fatboy SlimやThe Chemical Brothers——を思い起こさせたことに驚いた。私はそれと同じように、奇妙でありながら耳に残り、そして少し素直さを恐れないようなエネルギーを持つ作品を作りたいと思った。
私は普段、自宅で曲を書き、その後ライブで演奏して、うまくいく部分、そうでない部分、そして即興の中で現れる細かなディテールを確認している。今作の全曲も、ロックのライブハウスやダンスミュージックのクラブで演奏しながら練り上げた。
キックドラムが4つ打ちのときでも、パーカッション、サンプル、シンセラインを使って、リズムに動きや、見かけ以上の複雑さを与えるように心がけた。よりブレイクビーツ主体やテンポの遅い曲を作る際には、90年代に子どもとして聴いた音楽の曖昧な記憶を思い出していた。それは、前述のメインストリームなアーティストだけでなく、当時父がよく聴いていたBill Laswellのプロジェクトや、最近になって知ったScornやTechno Animalといったアーティストも含まれる。また、スウェーデンの The Flesh-Eating Bugs の2022年のアルバム Melting Pot にも影響を受けた。この作品は、まるでブレイクビーツを用いて作られたノイジーなインディーロックのようだ。「Premonition」は、非常に霧の濃い午後に、自宅近くの明代の墓の周囲を散歩した後に書いたもので、そのゴシックな音はその影響かもしれない。「Pass」については、書き始めたときには意図していなかったが、プロト・ダブステップのような響きがあるところが気に入っている。
上海は多くの点で北京よりも暮らしやすいが、容赦なく商業主義的でもある。いくつかの歌詞を書くときには、文化が単なる消費の対象にすぎない場所で文化を創るということがどういう意味を持つのかについて考えていた。アルバム制作の終盤にはウィリアム・ギブスンの作品を多く読んでおり、その先見的で（暗い）未来像だけでなく、過去のイメージや観念が私たちをどのように付きまとっているかという彼の描写にも刺激を受けた。振り返ってみると、このテーマは「Victim of a New Age」や「Classic Cars」にも現れていると思う。
Composed by Simon Frank
Mastered by Rei Taguchi (Saidera Mastering)
앨범은 그 속에 담겨 있는 정보 자체만으로 가치가 있기 때문에 단순 변심으로 인한 교환과 환불은 음악가의 저작권 보호를 위해 제한합니다.
사이즈는 측정 방법에 따라 오차가 있을 수 있습니다.
소비자의 부주의로 인한 변형에 대해서는 보상 및 책임이 어렵습니다.
배송 안내
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