Kimberly is a guzheng performer passionate about weaving threads of emotions and rhythm through the tapestry of her life. From a tender age, her profound love for music moved her into the enchanting realm of Chinese classical melodies. However, fate led her to an unexpected path, where she got captivated by the allure of electronic music. In collaboration with her close friend, Darkle, Kimberly co-pilots the label 霹雳娇娃 Charlie Angels, within the vibrant confines of the underground club TAG in Chengdu, China. Music, for her, is more than a series of notes, it is a manifestation of consciousness pulsating with the raw essence of life. She traverses diverse scenes and forms, expressing rhythm and emotion in a harmonious dance. She’s the female protagonist of the award-winning documentary “The Last Year Of Darkness,” where her presence resonates across the music scene in both China and Europe. Kimberly’s journey is a narrative of exploration, experimentation, and breaking free from the conventional molds that seek to confine her artistry.

How do you incorporate the guzheng, a traditional Chinese instrument, into electronic music?

I haven’t yet delved into the production part. My friends have used my sampling to make music. I believe that various types of music can be interconnected, and combining guzheng and electronic music is a collision between traditional Chinese sound and modern electronic music.

What challenges and opportunities does this unique combination present? 

I must always balance the transition between classical and electronic music. For example, in the world of classical music it brings me a more rigorous attitude and inertia. Of course, there is also a part of rigor, but I think electronic music is a bit more relaxed. For opportunities, it’s about stepping between the two that I see more possibilities between guzheng and electronic music. I will continue to learn about live sets and similar things in the future.

What inspired you and Darkle to start 霹雳娇娃 Charlie Angels label, and how does the label contribute to the underground music scene in Chengdu? 

Darkle and I were inseparable good friends before we started learning DJ together. Establishing this brand happened by chance, almost like a joke, because we are both strong ravers in Chengdu, and everyone calls us Charlie’s angels (霹雳娇娃). We also tacitly understand that using this name as the brand is perfect. We would like to express our gratitude to Funky Town, Tag and other underground clubs in Chengdu for providing us with many opportunities to run our gigs. For us, it is also a process of accumulating experience. If we have made any contributions, I think it is us who have brought us energy and happiness.

The inner energy brought by the two types of music is very different, and this is precisely what I need to switch between calmness and release.

How do you navigate the intersection of classical and electronic music in your compositions and performances?

The inner energy brought by the two types of music is very different, and this is precisely what I need to switch between calmness and release.

Being featured in an award-winning documentary is a unique experience. How did this opportunity come about, and how has it impacted your music career? 

This opportunity emerged from a conversation between me and director Ben Mullinkosson. Before this, he had not mentioned that he would be filming me next. At that time, I was in a relatively low psychological state, in darkness if you will. Ben saw the struggle I had, although in pain I still chose to believe I had hope, so he decided to film me. At the same time, this movie also took me to different countries to participate in film festivals and some music performances. This was a very special experience for me, ultimately opening my mind and making me more determined to pursue my music career.

Can you share some behind-the-scenes moments during the making of the documentary that left a long-lasting impression on you?

Our entire film team greatly respects me and the other actors. Before the final version was released, they asked for my opinion on whether I would mind some clips in the film or if there were any parts I wanted them to delete. During the filming, they cared about me very much, always asking me how I had felt lately, encouraging me that I was not alone, etc. This made me feel much of the love and generosity from them.

Are there any specific experiences from your time in Europe that have left a lasting impact on your approach to music? 

For the experience, It had a lasting impact. It had an impact on both self-expression and musical style.

How do you envision the evolution of your sound and musical journey in the coming years?

My plan for the future is to learn about music production, combine traditional Chinese instruments such as guzheng and electronic music in my own way, and share them with everyone.

Check out Kimberly’s exclusive set here:

Talent: Kimberly

Music editor/director: Joiah Luminosa