*80 copies limited edition* nichijo means daily or everyday life. founded by yang kuku (ghostmass) and zhao ziyi (deadly 100 seconds, bad birds, 終末天使の血のノイズですཐི♡ཋྀ...) in 2023 in beijing, where experimental/avant-garde music, non music, performance art, noise and free music all mixed into a small scene. their official introduction is "dull and tired". this is their first release. below quoted from an interview. the chinese version can be downloaded as attachment of the digital purchase (or check subjam.org/blog).

Q: How did you two meet? How did you decide to do this combination? From the grinding core to the current nichijo/daily life, this change is a bit big, does it mean that you don't care about the style, only care about the band together?

A:
Y: We met at UFO's open rehearsal day every Wednesday.
The first thought was to do the ferocious high-energy free-form of drumming and bass plus noise like Sete Star Sept, but we never found a drummer, and the vocals of the grinder needed training, so it felt like we weren't a good fit. So this plan never came to fruition, and then it became the "everyday" it is now. It is mainly played with acoustic noise from everyday life.

Z: I've seen many early performances of Yang Kuku, all of which were in UFOs, and they were dull and tiring from the beginning. A huge figure in the noise, because of the lighting and sound conditions, often can't see the details of people clearly, can't hear the sound clearly, and feels very sad. I have the impression that he is a very fierce person, but he is not. The first contact with him was that once I had an idea to perform with someone else, in short, it was about noise and howling, and I asked a friend at the time to introduce me and add WeChat, and later that gig was also at UFO. We became acquainted, and then we slowly had the idea of forming a fixed group. At first, I imagined that the music was an instantaneous, explosive, noisy and vocal duo (it sounds like Rhythimcshit and the former Rat 51 The Spy), but I don't know why a drummer always appeared in a daze after the rehearsal, and after a few rehearsals, I realized that it really didn't work. Thinking about it, just forget it, stop playing silly noise, and return to daily life. So the two of us became "everyday", and it turned out that the daily was actually quite cool. Although there is a wide range of styles, I think as long as the posture towards the music is the same, it is fine.
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Q: Where was your first performance? How many performances have you performed so far? Is it true that there is a different work almost every time? Where was the last performance? How did the audience react?
A:
Y: The first performance was at the old Wujin, a packaging performance, prepared two foam boxes and two rolls of tape, one package and one unpacked. Now Wujin has changed places. So far, there have been about 6 performances, and each time the performance is different, the most recent one is a performance at AOTU, drawing napkins. The audience didn't seem to react much.
Z: In the Langjia Hutong period, the time is the beginning of 2023, and we have performed no more than 10 times? But I always feel like I've put a lot of thought into this project, probably because we often hang out together. The last public performance was in the AOTU space, performance of tissue drawing, and after the performance, I was in a trance, forgetting what the audience's reaction was.
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Q: Is it possible to perform on a basis that is purely beautiful or "musical" in an unrestricted way?
A:
Y: Nichijo's performances are likely to have some soundscapes in our lives. It's not "good", right? There's nothing musical either.
Z: I want the musicality to disappear.
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