24-08-21 Pre-1989 Popular Music in China

開天闢地 – 中國新音樂系列之一 = Chinese New Waves Volume 1 ・ The Window Is Opened, CD (published by Sound Sound Music Publishing Co., Ltd., 1988)

In 1988, a decade into the Reform and Opening Up period, as the local Rock music is asserting itself as an alternative popular music to the ubiquitous gangtai yinyue (‘music from Hong Kong and Taiwan’) or oumei yinyue (‘music from Europe and the US’), and a year before the radical deflection of this emergence by the events of 1989, we find this compilation being published in Hong Kong representing the state of the Mainland’s musical output. Perhaps in a move to broaden its appeal to the Hong Kong market, the material on the CD is at the lighter end things, with vocal-driven soft rock, heavy on the synths, typical of the mainstream music in that period.

However the first track on this CD is《最後一槍》, composed and sung by 崔健 Cui Jian, who in a few years would be the most famous rock musician in China, but at this moment is preparing for the release of his first album which would appear the following year. This track is certainly at the milder end of his material, but—unlike the other, rather mellifluous singers on this CD, maintains Cui’s rough vocal delivery (to be fair, 王廸 Wang Di also sings in a similar fashion on this release).

It’s also interesting to note that the CD’s second track is also a Cui composition:《一無所有》. Reportedly first performed in 1986 in Beijing, this track would later become infamous for the way it spoke to the wider social situation in China. However, that moment is still a year away, and this version is sung by the popular singer 吳小芸 Wu Xiaoyun, the track becoming a sentimental ballad whose future significance would have been impossible to predict.

More information about this release on Discogs.

Critical Music 4: Interview with Zafka (Zhang Anding) (part 2)

Welcome to the second, and final, part of this interview with Zafka (Zhang Anding). Here he discusses China Youthology, the brand consultancy he co-founded, as well as his involvement in Yao Dajuin’s Revolutions Per Minute exhibition of sound art in China, working with the rapper J-Fever, and his recent performance with Sheng Jie for the Pixel Echo series of concerts. Finally Zafka discusses his thoughts on the political significance of sound and the current state of experimental sound in China.

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Critical Music 4: Interview with Zafka (Zhang Anding) (part 1)

Critical Music series: This series of posts focuses on individuals, groups, or organisations that have played notable roles in the history of critical music practices in China. These practices appear in many different guises, often related to concepts such as “experimental music” or “sound art”, although neither term is entirely satisfactory in describing the practices which often exist in many hybrid forms. My adoption of the term “critical music” (following the writings of G Douglas Barrett) attempts to avoid the limitations of these terms, while highlighting the active nature of the sound component of the practices. These posts will primarily take the form of interviews, each one aiming to place the subject within the general history of critical music practices in China, and contextualise their current practice within their overall development.

Welcome to the fourth interview in this series. Today I am honoured to be able to publish the first part of an interview with Zafka (Zhang Anding), an experimental musician, sound artist, and founder of the brand consultancy, China Youthology. Zafka’s story takes us from the early practices of experimental music and sound art in China in the late ’90s, his first bands through to his investigations of field recording to tap the political power of sound, and his more recent work on sound in relation to social media and online platforms. Over the years Zafka has been involved in many of the important festivals and exhibitions related to sound art held in China, including Revolutions per Minute, Get it Louder, Mini Midi, and Pixel Echo, and in this interview provides a critical perspective on a wide range of aspects of the development of sound practices there.

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Critical Music 2: Interview with Colin Siyuan Chinnery (part 2)

Welcome to part two of the second interview in this series on critical music, talking with Colin Siyuan Chinnery. Part one can be found here. This final part will cover Colin’s more recent activities in relation to sound: his involvement with the Shijia Hutong Museum and the development of the Sound Museum, an entity investigating and exploiting the full potential of sound.

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