Betty Apple’s "Taiwan bay Be" is an intergalactic cry, a manifesto of liberation, and a rave invitation to the outer edges of human - and alien - experience. It’s also wildly, unapologetically fun, as if your future self hacked your present playlist to send a cheeky SOS from 2084.
The Taiwanese sound artist and performer is known for her fearless explorations of identity, politics, and the body, often merging performance art with sonic experimentation. In "Taiwan bay Be", Betty Apple transforms these themes into a 13-track odyssey that feels as much like a futuristic opera as it does a DJ set at a post-apocalyptic club.

The album opens with “Abandon Xmas”, a track that pairs the festive and the forlorn in a way that would make even Scrooge dance. It’s cinematic and driving, with melodies that spiral upward like the ribbon on an unwrapped gift, only to collapse into an urgent, industrial beat. Then, with a knowing wink, she throws us into the glitchy intimacy of “222 alien lovers”, where heartbeats and static collide in a love letter to the unknown - continued later with the warped tenderness of “Omicron love”.

“Making love in Taipei” offers a moment of introspection, its searing leads and sprawling synths unfurling like neon lights in the city’s rain-soaked streets. But before you get too comfortable, “111” yanks you into a cyberpunk rave circa 2020, its chaotic collage of sound a time capsule of a city alive and thrumming while the rest of the world stood still.

Betty Apple’s knack for playfulness and protest is perhaps most evident in “Run away from the system”, a minimalist, raw rebellion of stripped-down beats. It’s followed by “Fourth world”, where leftfield techno collapses and rebuilds itself, creating a space where Detroit techno meets Taipei’s nocturnal energy.

The album’s standout moment, “Venus energy”, channels acid techno through Betty’s singular lens, blending pulsating rhythms with twists so unexpected they feel like plot twists in a sci-fi thriller. “Key person”, recorded with a SOMA Ether V2 to capture electromagnetic signals, feels like trying to tune into alien radio stations - an exercise in both chaos and curiosity.

“Chaos is our god”, a phrase that could summarize the album’s ethos, blends strange, serpentine melodies with shuffling, esoteric rhythms, creating a soundtrack for dancing in the ruins of outdated systems. The final track, “BODIES UNHINGE”, is an epic 13-minute journey through whispered texts, malfunctioning grooves, and cyborg soundscapes - a fitting conclusion for an album that feels like a tour of a world where human, machine, and alien have merged.

Betty Apple’s "Taiwan bay Be" is audacious, deeply thoughtful, and delightfully irreverent. It challenges conventions, celebrates contradictions, and dares its listeners to embrace the chaos. Equal parts manifesto and dancefloor invitation, it’s an album that could only come from Betty Apple - a cosmic mermaid with her finger on the pulse of a future we’re only beginning to imagine.