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The concept of "Five Venoms" is materials used in witchcraft, where five highly toxic creatures - snake, scorpion, centipede, toad, and a mythical creature called "yao" - put together in a container. Through secret techniques, the container is sealed for a period of time, forcing these different creatures to compete for survival. The practitioner of this craft must also interact with these creatures during the process, almost like forming a contract. If only one creature survives in the end of the process, it is considered a successful creation of poisonous magic.
The resulting witchcraft, known as "蠱Gu" in Chinese, possesses various effects depending on the practitioner's methods and intentions. This ancient form of black magic, prevalent in Asian region, is said to have the power to control a person's mind and behavior.

Hence, the proverb "蠱惑人心" (Gu seduces the heart) is associated with these chilling legends. It symbolizes a force beyond government control and was considered a serious crime in ancient times, shrouded in mystery. Most records of it exist in rural folklore, with the precise methods said to be passed down through bloodlines and unknown to outsiders.
Even today, there are many related stories and practices in Asia and Southeast Asia, seemingly stemming from a belief in the fusion of natural phenomena and human-induced power, leading to the spread of this mysterious force.
The process of creating "蠱Gu" reminds me of modern music production. We place ourselves in a confined space (a recording studio) for an extended period, allowing ideas and musical elements to compete or blend in our minds. In the end, we create a piece of art, hoping that it can influence people's emotions and move them to dance or cry.
Originally, music and art served religion and belief systems, making one wonder if the folk music traditions in East Asia, passed down to this day, also carry a certain kind of power.
Taiwan, with its history of diverse cultural influences from prehistoric times to the present, is a place where different cultural groups have thrived. As a music producer who grew up in Taiwan, exposed to Chinese, Japanese, and Western music, I want to use the concept of Asian black magic to gather folk sounds from local, South Asian, and Southeast Asian regions. Through my understanding of dance music production techniques, I aim to create modern rituals, what we now call "party services" in the form of dance music.
The first composition based on this concept already includes the sounds of Taiwan's "Beiguan" music with suona, gongs, cymbals, and drum boards, as well as Japanese shamisen, koto, taiko drums, and Indonesian gamelan. Currently, I am gathering folk music from various regions and have begun by sampling materials from Taiwan's local religious music.
The album will be officially released by the end of this year or the beginning of the next.