March 23 is Earth Hour, the World Wildlife Fund’s global participatory event to promote awareness of climate change. And so, a jouney into yaogun’s green connections…
Beijing Daze’s review of the show is here. A total of just shy of RMB134,000 (just over US$21,000) was raised via ticket sales and an auction that consisted of items ranging from a guitar smashed by grunge-rocker Xie Tianxiao (aka XTX) – who had, back in the day, smashed more than his share of guitars that he could barely afford to purchase, let alone destroy; in his not-so-early-days, he brought along to shows an extra smashable guitar that often went unsmashed – to autographed guitars and albums and more.
Our best goes out to Liang Heping; his wife told the gathered crowd that Liang has regained “minimal use of his hands” and we hope that the healing continues.
photo of Liang Heping (right) and Cui Jian from the late 80s via Weibo user 只爱右
On a visit to Hong Kong earlier in the year to speak at the Asia Society, the Wall Street Journal sat me down to talk about a few tunes that represent yaogun’s evolution. Here’s me trying to sum up yaogun in three songs.
Suggestions for other representatives…?
In these, the first few hours of the Year of the Dragon, we continue on from our last look back over the course of yaogun, part II of one man’s view of the best records to come out of China’s rock scene takes us into the new millennium. Chronologically we go…
Cold-Blooded Animal by Cold-Blooded Animal, 2000
Less inspired by Kurt Cobain than his embodiment, Xie Tianxiao, the band’s singer/guitarist who now goes by the name XTX, was a force of nature live, and though he still retains some of that energy, in the early aughts he was at his peak. Here, “Who Was it That Brought Me Here”, live at CD Cafe in Beijing in 2003.
Second-Hand Rose by Second-Hand Rose, 2003
Yeah, singer Liang Long dresses like a girl. But when you listen to the album, it doesn’t matter, and that’s the true test. “Gathering Flowers” showcases the bridge bewixt traditional China and modern rock.
Ma Music featuring Glamourous Pharmacy, Ruins and Wooden Pushmelon, 2001
This posse of bands led the early-aught alt scene, often infusing art into their performances, which signaled a commitment to more than just music. Xiao He, who walks both sides of the fine line separating idiot from genius in his current solo work, led GP; Ruins singer Zhou Yunshan first added his name to the band’s and now just goes by his name; WPM’s Song Yuzhe makes great folk music. Listen to the whole record via this link, which may be in Chinese but is easy enough to navigate.
“How Steel Wasn’t Tempered” – Wooden Pushmelon by jWc
The World is a Noise Garden by Sound Fragment, 2002
Spacey and dreamy, the record showcases the empty spots even more than the titular noise. One of yaogun’s rare headphone records. Here, the lead track, “Deceive One’s Self” (ziqi).
Xin by Wang Lei, 2004
Wang’s first decade-plus in the arts saw him move from breakdancing to pop-rock to freak-folk. In the new millennium, he took to industrial music briefly, then discovered dub and fell in love. This record is the peak of that fascination, mixing traditional and contemporary sounds from a range of different traditions to create a minimal, groovy and bounce-along-able record.
“Again” – Wang Lei by jWc
P.K. 14 White Paper, 2005
Post-punk quartet P.K. 14’s third album sees the band in top form, just in time for the mid-decade “indie” boom. The video for “Them,” below, is one of several greats the band produced.
Omnipotent Youth Society by Omnipotent Youth Society, 2010
Singer Dong Yaqian may not look like he’s having a good time while performing “The Not-So-Omnipotent Comedy,” below, but the song, as evidenced by the singalong, is fun in a way that is rare (even if you wouldn’t know it by watching frontman Dong Yaqian); ditto, the album.
This Readily Assimilative People, 2010
by Lonely China Day
Two records made for headphones, and two records more representative of Twenty-First century China than any other yaogun album.
“One” from Sorrow
“Rise Up” from This Readily Assimilative People
L & R by Wang Wen, 2010
This Dalian-based post-rock group has a sizable following cross-country, and is helping fertilize the local scene by example and involvement through record label (Fox Tail) and venues (several short-lived spots).
Cang Lang Xing by Zhaoze, 2011.
Like their brilliant fellow (now former) Guangzhou resident Wang Lei, they seemed to have suffered somewhat from being outside of Beijing, not receiving anything remotely like the appreciation they ought to. But, like the two post-rockers mentioned above, they have a seriously intense fanbase. Below, “Cang Lang Shui Yu You” live in Hong Kong, May 2011.