田野录音，基于田野录音的简单加工，2006年秋、冬，北京：工地、公共汽车、厨房、窗户、公路、电脑硬盘、风扇、温泉、打字、洗衣机、呼噜、做爱、聊天、风、电梯。
这是颜峻的第一张个人作品，适合循环播放。

2007年4月，我来到上海，为大声展声音项目做勘察。朱婴介绍了虬江路。这是统称为“虬江路”的好几条街，专卖便宜的电子产品、电脑配件、二手机器。音乐和交谈声此起彼伏，高架铁路从头顶经过，摆满机电元件的院子曲径通幽……
我像喜欢旧货一样喜欢这些声音。
上海证大美术馆邀请我参加“介入”，一个公共艺术项目。我决定回收虬江路的声音，在虬江路把它加工成CD，然后在虬江路出售。这是只发生在虬江路的出版和流通，这是虬江路的时尚和资本。
声音从哪里来，还到哪里去。
颜峻
2008年1月

swimming salt 游泳的盐, resonates in the elemental qualities of sound. Recorded in 2014, it is constructed out of a limited palette of electronics, feedback, amplification and radio, during sessions between Yan Jun and Ben Owen in Brooklyn, NY. The music marks out long-arching shapes emerging out of white space, decidedly abstract yet immensely gripping. Far from any exceedingly poignant exercise in reductionism, the sound contained simply is, establishing an immediate contact with the space and the ear in marvellously detailed yet unadorned folds of grain and pitch. Levels of feedback and noise rise discreetly, in a manner that manifests itself as atmospheric pressure, and the crackly electronics often appear as seasoning within the flow. In a way the album’s gestures are kept at arms length from the more typical appearances in music, yet they succeed in presenting possibilities within sound that speak of both pleasure and innovation in equal measure.
Yan Jun is a musician and poet, based in Beijing. By using feedback, field recording, voice, body movement, environment, interval and background, he works on improvised music and experimental music. He is the founder of the Sub Jam label.
Ben Owen works with sound using various approaches..., improvised, recording, listening and scored pieces. His instruments are simple electronics - played, mixed, re-patched in their own trajectory of small sound, broken and accidental. Over the past few years he’s found more interest in presenting works, performing and recording in outdoor spaces. His focus is in the sustained, immersive, minimal soundscape, which interacts within a space as well as as a part of an outside environment.
Yan Jun: feedback
Ben Owen: electronics, op amps, radio
Recorded November 2014 in Brooklyn, NY
Mastered by Samuel Rodgers

Plugged into our impossible online room, triangulated between Beijing, London & Manchester via autonomous noise unit, we clicked here and there to tune into each other and quickly imagined an ecstatic Morbid Angel covers band, riding waves of device distortion and 5000 miles of time delay. I was on an aural noise high for hours after the session just like that first time seeing LOUD bands in the Princess Charlotte in Leicester as a kid, inaudible, cloth eared to the teachers at school the next day. A private underwater sound joy.
- D.B

Raymond Cummings, The Wire:
…Brother of DIvinity trades heavily in sine waves scrambled gently or aggressively, with samples snuck into the general surface melee: a Where’s Waldo? approach, with Waldo replaced by a crying kitten or squashed snatch of pop or re-re-regurgitated Morse code guitar. In their questing, Olive and Yan Jun - the former on magnetic pickups, both on electronics - seem determined to draw down on or sharpen some ineffable sensation, like amateur radio enthusiasts straining to lock onto a pirate radio signal halfway around the world. Rubbery, stippling pulses, piercing squeaks and sheets of shivering statics are their (and our) rewards for sonic labours that are anything but plain, anything but anonymous.
Brian Olewnick, Just Outside:
Olive can always be depended on for an aggressive and imaginative improvisatory use of electronics and in Yan Jun, he's found an excellent collaborator. 'Brother of Divinity' is a single, 26-minute track of high intensity, bristling and sizzling electronic mayhem with a huge range from spiky highs to molten lows, managing to create a fine sense of elasticity between. A kind of kitchen sink approach except without any sense of crowding, more a funnelling of a vast<span><span class="bcTruncateEllipsis">...</span></span><span class="bcTruncateMore" style="display:none"> stream of sound into a (semi) coherent flow, bumpy and sharp, acidic and likely painful to the touch, but very alive. Even when it quiets down some, the splintered, muted guitar and radio grabs carry substantial sting. Excellent work.
Michael Rosenstein, Dusted Magazine:
Here, one gets the sense of sonic calligraphy built from sparks, static, shadows of melodic fragments and burred and squiggled oscillations. Yan’s electronics meld effortlessly with Olive’s setup and Olive reminisces that “We recorded for two afternoons and got quite a bit of music… While going through the recordings, it occurred to me that two of the pieces might work well together. They were similar in length, so I basically laid them on top of each other, did some very minimal mixing and that was it. The textures are very clear, very open, so they work well together, and I love the inadvertent/unplanned consonances and dissonances and the matching and mismatching of textures.”&nbsp;&nbsp;
Listening as the 28-minute piece unfolds, a certain playfulness emerges. One can hear the two probing at the activity of sound creation, something that is certainly central to Yan’s work. But rather than a conceptual exercise in aural cataloging, the two revel at the accrual and juxtaposition of resultant sounds. Radio grabs, quicksilver scratches and scrapes, sputters and pops, flutters and quavering tone sweeps, reworked plucked and fractured melodies, hums and hiss duck in and out with nimble fluency. The variety of timbres, densities and pitch spectrum is striking right up until the final moments of low thrumming pulse, electromagnetic fuzz and the distant chime of church bells. But it is the process of weaving these together into a coruscating aggregate that ultimately stands out. Even without knowing the final mixing process, the overlapped layers which accumulate and then fray apart with variegated intensity and concentration reveal a volatile unfolding structure.&nbsp;</span><span>&nbsp; <a>more</a></span>released January 30, 2019

Tim Olive: magnetic pickups, electronics
Yan Jun: electronics
Recorded in Kobe, Oct. 2017
Catalog Number: 845-10
Format: Glass-mastered CD, hand-stamped cover
Limited Edition of 100
Mixed by Tim Olive
Mastered by Makoto Oshiro
Illustration by Jason McLean
"i'd like to say something.
but i have no words at this moment.
words are something not belong to me.
ok, the year of boar is coming.
enjoy!"
- yan jun, january 8, 2019

开始于2002年的，众多的葵花籽项目之一。在今日美术馆的一小时漫步，嗑瓜籽和录音。
请把它当作环境音乐来使用。
录音：颜峻（2011年9月9日晚9点03分-10点04分，北京今日美术馆一号馆二楼展厅）
限量50张。
2011年8月6日至8月19日，我参加了在今日美术馆展出的“第二届中国当代版画学术展”，作品题目是“怎样嗑瓜籽”：现场提供葵花籽，观众可以随意取用，并且把瓜籽皮扔在地上。
作为后续创作，现在，这张CD，会寄给留下了联系方式的观众。
版画是视觉艺术。我只能为大家带来其他的东西。
在展览现场，嗑瓜子这个举动，这些微小的声音，都是其他的东西。事实上，在我们倾注了热情和愿望的目光里，日常生活也已经成为了其他的东西。当其他的东西返回，它造成的扰动，或者说感染，是微小而持久的。
重返美术馆的录音行动，不同于之前的展览。这是一次私人的漫步。我希望大家把这张CD当作环境音乐来使用。
——颜峻
感谢：李帆、乔乔、姚保国（吉香栗干果店）、赫斌（展览录音）、今日美术馆的工作人员和志愿者。

Yan Jun: feedback, sunflower seeds
Jonathan Chen: feedback, violin

Unconditional Love, a collection of two incredibly singular mixer feedback works, typified Yan Jun’s investigations into tonality and pitch. Having created a series of related works over the years, this piece perhaps summarises these concerns. Each of the extended performances pushes at the edges of our auditory capacities. Occasionally they fall beyond what we might readily appreciate and in those moments we are asked to consider our own physiology and its particularities.

继《生命中的15分钟》之后的又一张三寸唱片，是花园与后花园的两段现场，真正意义上的即兴，利用泛音、调变和反馈，拿捏得游刃有余，论其境界，是为上品。
设备：话筒、音叉、调音台、效果器、拉链和铃铛（花园）、雨衣和雨（后花园）
equipments: mic, tuning forks, mixer, pedals, zipper and small bell (Garden), raincoat and rain (Post Garden)

「清醒梦」是摩登天空氛围音乐厂牌“Sound Blanc 白”与活动组织“世界寂寞协会”合办的氛围音乐沉浸式体验活动。2019年，【清醒梦】分别以《Dayspring 曦光》、《Wilderness 旷野》、《Deep Dive 深潜》、《Deep Sleep 沉眠》、《Moon Light 月光》为主题，在三里屯CHAO Art Center 举办了5次体验活动。参演的10组音乐人以他们对音乐的不同理解，通过声音疗愈+音乐的演出，将现场参与者引向放松和睡眠深处，寻找内心的平静，体现疗愈和音乐结合的妙处。
近日，「清醒梦」的五场现场live音频被挑选并出版成为一张完整的氛围音乐专辑

《情·调》是一张带有“情爱”、“爱欲”表达的音乐合辑，音乐人利用带有色彩及故事性的旋律和音色，表达充满丰沛情感的“爱与欲”，唱片定位更多地基于电影原声配乐和功能性音乐的方向进行拓展。功能性音乐的制作方向，是带有强烈情感色彩的音乐，利用音色及旋律的特质，制作出情与爱的内容，表达方式更为直接和带有画面感；另一方向是从音乐人自我角度出发，从深层次的角度去讲述一段自己对于“情”、“爱”的故事或回忆，音乐将偏重于带有故事线的旋律，更像是电影配乐作品的方向。
在Z时代更加快速的大时代背景下，对于情爱的冲动和更深层次的渴望在这张专辑中被放慢放大，从更深的角度出发，讲述了9个不同的爱情故事。
爱情是人类最珍贵的情感之一，《情·调》就是这样从不同角度，诠释了这一情感多样的色彩和美。