Image Description: The album cover of the mixtape features sketches of a plant sprouting and carpenter ants carrying seeds with Lumad imagery.
LY002: Seeds
December 2023

Inspired by the urgent and ever-growing international solidarity movement against imperialism, we called on musicians to respond to the theme of seeds. As we witness increasing repression and fascism around the world, our network meditated on the growth, continuation, and multiplicity that sustains us and our movements.

This project began as part of Liyang Network’s Defend the Defenders campaign, a response to this increasing repression of environmental and human rights defenders and advocates in the Philippines in the last four years. The campaign supported targeted activists in Mindanao from diverse groups - farmers, workers, Indigenous Peoples, and women - who are all part of the broad-based movement to free the country from foreign domination, and develop it sustainably for the Filipino people.

Despite the Philippine government’s best efforts, the impacts of what has been built will not be extinguished, and defenders will continue to wage the struggle for land and life. Tied to the land, we find that seeds can represent the planting and re-planting done both literally and figuratively to win people’s struggles. Long live land defenders! Mabuhay!


All proceeds of this mixtape go to Liyang Network’s ongoing work to sustain those on the frontlines of land, environmental, and human rights defense in Mindanao, Philippines.


Liyang Network is a local to global advocacy network that amplifies the calls to action of frontline environmental and human rights defenders in Mindanao, Philippines. Originally founded in 2019 in UCCP Haran evacuation center Mindanao, it was born out of a direct request from our primary community partner, Sabokahan Unity of Lumad Women to form a network to bring together all of their international supporters in order to uplift and advocate for the calls of the Lumad people. Since then, we have established an overseas chapter in the US, which mobilizes people nationally in support of the calls of communities in Mindanao. Liyang U.S.A. currently has 3 regional organizing committees which focus on making connections with local issues in Northern California, Southern California, and Western Massachusetts; we also have members across the country and internationally. Since our founding, Liyang has expanded our advocacy work to include peasants and agri-workers in Mindanao, in addition to our work supporting Lumad communities.

‘Ōlelo Hawai‘i:
Noho ana ke akua I ka nāhelehele
i ʻālai ʻia e ke kīʻohuʻohu e ka ua koko
e nā kino malu i ka lani malu e hoe
e hoʻoulu mai ana o Laka i kōna mau kahu
O mākou, o mākou, o mākou no ā.

English Translation:
The god dwells in the thick vegetation
That is hidden by the low lying mists and the low lying rainbow
O beings sheltered in the heavens, sheltered continuously
Laka will confer growth on her caretakers
It is we, it is we, it is we indeed!

@shrine_maiden666 / @yunglilith

Lyrics:
Hold the hand of the dying, you will feel your life
Hold the hand of the living, you will feel your death

Hold the hand of the sky, you will feel the earth
Hold the hand of the sea, you will feel free

Written/performed by Anna Luisa, co-produced by Julius Smack

Website / Bandcamp / @annaluisapetrisko / @practicalrecords / @juliussmack

From one pod
Scattered

Bandcamp / SoundCloud

The track is both about a grasshopper that dies out in the grassy fields and transitions into an eternal blade of grass. Simultaneously, the lyrics explore the death of an elder in the community and their transition into the ancestral realm. We see that both are one-in-the-same, grasshopper and elder, as they have much to teach us albeit in different ways, and both ultimately join the eternal realm all the same.

Song Story: Mountain Song with Ahma
by Umi Hsu

Flowers, flowers, I love, I strive
Flower flowers, I sing, I thrive

As a small child, I spent many moments with my paternal grandmother Ahma (“grandmother” in Taiwanese) learning how she lived life and made beautiful things. Ahma used to sing to her plants while watering them. Humming melodies ranging from Japanese enka to Western folk and classical genres, Ahma sang while I daydreamed. Morning light cast into the living room danced with shadows of plants and crawling creatures. Dust floated amidst urban air. In the bustling metropolis of Taipei, these moments of quietude in this city were precious.

How did I get here, flowers
How did they get here, flowers
Language that you speak, I speak
Game that you play, I play

Ahma was a professor of ikebana-style flower arranging . She grew up in Longtan Township, a small town south of Taipei during the Japanese Occupation Era, between the World Wars. As a kid, she played with the children of Japanese teachers at the local elementary school where her mother worked preparing student lunches. She learned and mastered Japanese, the language of the colonial government in Taiwan during the first half of the 20th century. When she finished elementary school, Ahma’s school principal recommended her for work at a highly-ranked Japanese official’s mansion in Taipei. Ahma told me that she loved city life. The colonial city was cosmopolitan. Symphony in the park. City lights. Then the War broke out.

Wandering the streets in Tai-Ba1
Musing the world in koen2
Cities I’ve walked in; bombs I’ve dodged
Lessons I’ve learned; and wars I’ve fought

I love the sound of Hakka. It’s the language of migrants originally from central China. I didn’t grow up speaking it. Even my dad knows only a few phrases. I can’t hear the Hakka language in my head but in how I imagine it, it sounds melodious. Speaking Hakka is like singing. I long for the sound of it.

My grandparents spoke Hakka as code if they didn’t want their kids to know something.
They also learned to hide this language from the government under the martial regime and to speak it strategically only with friends they trust. For more than fifty years, Hakka language and culture was marginalized by the dominant Mandarin culture.

Post-martial-law Taiwan embraces ethnic difference. Taiwan’s multicultural heritage is now a part of its character made to be re-experienced by youngsters and consumed by visitors and tourists. There are Hakka museums and Hakka language schools in towns and cities where there used to be Hakka ethnic enclaves.

On a trip to Longtan in 2012, I visited Ahma’s elementary school. On the tiled walls of the building facade, next to the giant subtropical trees, I spotted didactic language lessons in Hakka. It was summer time. There were a couple of children playing in the playground. I asked them to recite the words in Hakka. They enunciated the words for me, a semi-foreigner with an iPhone 3.

Sango, lai cang sango3
Sango, lai cang sango

Near the end of her life, Ahma suffered memory loss from Alzheimer's. My goodbye to Ahma lasted a long time. Saying goodbye is an art of call and response. When I was writing this song, I was imagining Hakka tea farmers singing “mountain songs” (sango) to keep each other company while working in the fields on the rolling hills. The tea farmers let the echoes of each lyric ring out across the mountain, before they respond with another lyric. They play with the space of the canyon and the distance between the caller and the responder. Out, around, and then back. “Flowers” is my mountain song with Ahma.

Sango, lai cang sango
Sango, lai cang sango

______________________
1 Tai-Ba means "Taipei" in Taiwanese
2 Koen means "park" in Japanese
3 In Hakka, this line means “Mountain song, let’s sing a mountain song.”

Image Description: Umi Hsu's Ahma wearing green and blue plaid jacket and skirt, gently smiling and standing in front of a row of ikebana arrangements on display in a gallery.

Image Description: Umi Hsu as a toddler eating cake next to Ahma wearing a white lacy tanktop. They are both smiling with forks of cake in hand. Behind them is a piano draped with cloth decoration.

Credits
Composition and lyrics by Umi Hsu
Arranged by Umi Hsu
Produced by Jacob Alden Sargent and Umi Hsu
Mastered by Lanier Sammons and Steven Kemper

Website

Credits:
Written by Maya Bon
Produced by Ryan Albert
Co-Produced by Maya Bon
Mixed by Ryan Albert
Recorded in Hudson, NY at 12 Lb Genius.

Instagram / Twitter

Lyrics:
This porch I'm on right now is all mine
And I'm filled with cherry smoke
Adorned in ash and completely incoherent
Yeah, its just like how I dreamed it.

And all I want is a field of grass.
So high, that nobody could pass.
And the sun's so low, that I pay taxes on it.
But live like I don't want it.

Cause I don't need to tell everyone, everything.
Sometimes, sometimes...
My mouth gets a little untied.
(Sometimes...)

Right now this porch I'm on is all mine.
My friends inside the deep deep heat.
Can these structures ever unwind?
Their holding everything all the time...

Sometimes, this porch is all mine
Sometimes, it belongs to you...

Credits:
Guitar/Vocals: Pete Diamantis
Violin: Jess Finkelstein
Drums: Evan Tsioni
Bass: Max Manziyenko
Lead Guitar, Banjo, Mandolin, Bouzouki: Chris Zak

Lyrics & Artwork by Pete Diamantis

Recorded and Mixed by Pete Diamantis
Mastered by Adam Cichocki

Special thanks to Adam Cichocki for the guidance in production and special thanks to my friends and family for the constant support.

Grateful.

Facebook / Instagram / Twitter / Bandcamp / Spotify

BIOME(TRICS) - BIOME(TRICS)
As we attempt to liberate food, we learn that supermarkets are developing facial recognition and license plate software to track your location and identity. When you verify for unemployment, the UI app requires a face scan. At airports, they use biometric data to scan your face instead of a passport. When testing for COVID-19, BioThermal imaging scans your face to read your temperature and heart rate. Instagram starts showing advertisements about a product discussed in our verbal conversations. During protests, drones and cameras scan freedom fighters to redtag, arrest, and murder us off. BIOME(TRICS) highlights the survival and resistance of QTBIPOC (Queer Trans Black Indigenous People of Color) farmers, artists, freedom fighters, organizers, cultural workers, and teachers who combine the digital, spiritual, emotional, and physical to build new worlds, untouched by the surveillance state.

Decode
Decode
Decode

The core of the earth
will not scan our names
The core of the earth
will not track our numbers

Decode
Decode
Decode

We are not biometrics
We are biomes
We are not biometrics
We are biomes

We are an ecosystem of
TRANSversing networks
Traceless mutants
Cross pollinating seeds
Deleting monocrops
Regenerating microbes

Adaptogens of perennial species
Cultivating forsaken spores
Echolocations of spliced scum
Ciphering grids

Biomimetic terratoids
Swarming to the center
Tracing pathways

Where our hearts freely pulsate
And our lungs expand to realms

Where our webs intertwine
Where our webs intertwine
Where our webs intertwine

Website / Instagram

"A shrine to elders and ancestors. They're the ones who planted seeds, leading us to where we are now. Let us now plant new seeds for the future."

Instagram / Bandcamp 1 / Bandcamp 2

Lyrics:
Ancient sarcophagus desecrated
Left a curse among us aggravated
I can't believe that you set me free
The world is filled with my disease
You walk by the woods and you kill the trees
I walked right by you and killed the weak

I've opened up my eyes
So don't look so surprised
The contract you have signed
Has sentenced you to die

Sinful greed shown in action
Subtracted masses from the fraction
No remorse or hospitality
gore galore or more fatalities

Chills that shake you to the Bone
The sweat drips down and you feel cold
Agonizing screams that you can't hold
Pestilence is in your fucking home

Credits:
Guitar & Vocals - Charles Monroe
Guitar - Pamir Aysan
Bass - Silvia C.
Drums - Kenetth Toledo

Music written by Pamir Aysan
Lyrics written by Charles Monroe

Recorded at Silver Cord Studio by Oliver Palomares
Mixed at Invisible Realm Studios
Produced by Pamir Aysan and O.P.
Mastered by Maor Appelbaum at Maor Appelbaum Mastering - California - USA
Art by Sphenoid Epistle

Image Description: A black-and-white stippled drawing of a cobwebbed ghoul holding the leg bone of a web-footed being. The ghoul has four horns on their head decorated with nails, an upside down cross and a frog.

Bandcamp / YouTube / Instagram

I wrote this song with the sole purpose of planting the seeds of resistance in the minds of people by showing how global imperialism works and how it affects Americans domestically. There is no such thing as art for art’s sake in our world currently and so I use my skills and art to help provoke listeners into asking these tough questions about our society.

Lyrics:
Killing kids abroad by the orders of a fascist
Those with the money think it's fantastic
People like me and people like you
Run from bombs like its a normal thing to do
The war is at home and the enemy is poverty
They say, “It’s a part of good ‘ol US Democracy”
Millions die every day from a broken system
While the rulers laugh at their fallen kingdom

Fight to overpower
Fight to survive
Fight for a better world
End the capitalist suicide

Workers fighting for their rights at home
Get crushed under the weight of a pig’s boot
People like me and people like you
Just wanting some basic human decency
The war is at home and the enemy is poverty
They say, “It’s a part of good ‘ol US Democracy”
Millions die every day from a broken system
While the rulers laugh at their fallen kingdom

Fight to overpower
Fight to survive
Fight for a better world
End the capitalist suicide

Our fight is against the hoarders of capital
Not those who live in a foreign capitol
It’s time that we end those full of greed
A world controlled by the people is what we need

Fight to overpower
Fight to survive
Fight for a better world
End the capitalist suicide

Fight, fight, fight, fight

Because imperialism in its very essence is what transforms men into beasts. It’s what transforms men into blood-thirsty beasts, ready to slit people’s throats, to assassinate and destroy every last image of a revolutionary or a supporter of a regime who had fallen under its boot. Or who had been fighting for his freedom.

Linktr.ee

Plants rely on the help of others in their community to disperse their seeds - be it wind (as with a samara - maple, elm, ash, etc), water (cattail, coconut), animal ingestion (raspberries, banana), animal transport (burrs, hitchhikers), or human horticulture. Likewise, it's up to the global community to learn about and spread 'seeds of change' planted/growing around the world. International solidarity forever!

Plant native, regionally appropriate plants for biodiversity and habitat resilience! Grow food and support small-scale ecological agriculture for food systems change! Land Back from Mindanao to Turtle Island to Gaza!

Thanks!!!!!

-Zach

SoundCloud / Instagram

I tried to express the feeling of searching for a beginning, and the forgetting of loneliness in search for collective liberation. The title is a reference to this image of a pin which I found on tumblr years ago, it has been my profile picture on and off online ever since.

Image Description: A photo of a worn circular pin that says 'There are more of us than you think!' in bold black text on white background.

Bandcamp

Lyrics - something always happens in the dark to my heart, i feel as it matters in my heart you've been, and something always happens to my heart in the dark

Bandcamp / Instagram


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Thank you to all the minds, hands and hearts who made this possible:
Sai
the artists
the listeners
and those on the frontlines.


Stay connected with Liyang Network:




LY003 (stay tuned!)


Organized and released in December 2023 by Liyang SoCal