100 SPIRITS draws near. In the dark night of Tuesday 4 April, this beastly display of souls will be unleashed!! For one night only, the ancient tomb of Jah Bar will mutate into a crazed crypt crawling with ghosts, as the stage alter is graced by five of Chengdu’s most forward-thinking and innovative live acts.
Behold, the princely masters of SPLORTCH SELECTOR will kick the night into gear with a psychedelic mash-up of robot synthcore and chunky prog basslines, enslaving you into either your greatest dream or worst nightmare.
I dare you to Google the word ‘splortch.’ I double dare you to see what that word means when it is turned into a electro-prog-rock-synth-fused musical project.
I first met Michael, the band’s mastermind at Aus-atmen last year. He was one of the last people to leave and partied right through till the soggy rain drenched mud fest of Sunday afternoon, just before the cops came. From then on, I knew he was one of the good ones. He also played guitar and was making beats on his laptop. Since those humble beginnings and a killer set at Blah Blah #003, this bedroom music project has evolved into the three-piece live monstrosity SPLORTCH SELECTOR, which will explode on Jah Bar this Tuesday. What can we expect from this band? Word on the street is their singer is going to throw up on the audience. Get in.
After a long hiatus from performance, the celestial sisters of cellular synthesis THE HORMONES are back for their highly anticipated return to the mortal world! Blasting their infectious brand of electro dance rock, prepare to have these synthesized hormones secreted directly into your blood.
It must’ve been September of 2015. This super badass chick walked into the old Morning Bar 早上好 with a bunch of fliers. “这是我的乐队，” she said, handing me a flier and sitting down to light a cigarette. THE HORMONES – CHINA TOUR 2015. This is how I met Ming Ming – and I immediately liked her.
The Hormones are a collective of likewise badass chicks who rock seriously uplifting dance music and quite simply do not give a fuck what you think. Wisps of Karen O, The Yeah Yeah Yeahs and Foals, delivered with pure power and precision. They are such an important band and I am so excited to see them play on Tuesday night, their first Chengdu show in over a year!
KAISHANDAO will take us deeper into the night with bass heavy drum machine smashing and techno-flavoured frequency modulations, wielding an electric guitar and a mystic mixture of brain-warping effects pedals.
Kaishandao got it’s name from a 成语 that Xiaoxin a.k.a LittleNew, the illustrator behind the 百鬼夜行 100 Spirits poster, messaged to me several months ago. She’s fond of a good 成语，but I often have to look them up in Pleco. A not-so-long story short, I came across the word 开山刀 and it just clicked. I love it’s simplicity paired with brutality, the symmetry within the characters and the unified first tone throughout.
“Do you think Kaishandao would be a good name for my music?” I asked.
“Yeah it’s cool! But you’re music will have to be really cutting edge to use it,” she replied.
I’ve been organising shows in China for two years now, but I’ve played guitar since I was 10. I’m not sure Kaishandao is anywhere near as cutting edge as the friends I will perform with on Tuesday night, but for the first time in many years, I am now proud to perform my own original music for an audience, and in what better place than right here in this crazy city that has brought us together from all corners of the world – Chengdu. Bringing together my dual loves of rock and techno, this is Kaishandao.
As the clock nears midnight, the patron saints of post-punk HIPERSON will materialize for a rare and glorious performance. Known for their fierce vocals, ear-thrashing guitar assaults and thundering rhythmic prowess, Hiperson’s presence will ensure the spirits are well and truly awakened!
When I was a student living in Beijing, I came across a band from Chengdu who had put some demos on Douban. Just several seconds into 《他打定主意做一个游客》and I was completely hooked, put the demos on my iPod and biked around the city listening to them on repeat at full volume for what seemed like days.
That band? HIPERSON. And they are basically the reason I moved to Chengdu.
It was outside the little Little Bar after The Hormones EP release show when I first met Chen Sijiang.
“Uhh ni hao, ni shi Hiperson de Chen Sijiang ma?!”
OH MY GOD.
Since then, they have signed to a big indie label, released their first record, toured the country in a van and even toured Europe. Sijiang shaved off all her hair along the way. Through it all, they have remained 100% humble and dedicated to their music, with a DIY attitude that their heroes Fugazi would admire.
I am honoured to call them my friends, and I am in disbelief that I will play on the same bill as them at Jah Bar this Tuesday. They are the greatest and I can’t believe this is even happening.
Finally, elevating us to the spiritual homeland of techno, SU will provide a digital nerve massage of hard-hitting, Berlin-inspired beats, taking the DJ decks for a rhythmic full body cleanse right through till the early hours.
I can’t remember the first time I met Gogo, but I am almost certain it was over a doob at the old Morning Bar 早上好 several years ago. She asked what star sign I was.
“Sagitarrius,” I said.
“Cool, what date”
We are bound in an inexplicable bond by the astrological power of the number 12. Techno is what she lives and breathes, and each time she returns from Germany, she brings with her a wave of new energy that washes over those who hear her play.
The first time I collaborated with her was for the NUART Festival after party at 早上好 in 2015, where I brought Orchestra of Spheres and Lady Lazer Light for a renegade show and trippy visual installation. She’d just formed atmen with Xiang and had returned from a long trip to Germany. The night culminated with Riki Gooch (Cave Circles) jamming the drum kit to Su’s DJ set with a bunch of greasy shaokao sticks. It was beautiful. Since then, along with Xiang, we’ve played together at clubs and festivals in an improvised manner.
In a way, this Tuesday night is a coming of things full circle with the return of Lady Lazer Light to Chengdu and Su taking the decks for the closing set of the night. She is the spirit that floats the dance floor, let the frequencies set you free.
Overseeing this ghostly procession is the high priestess of visual overstimulation Lady Lazer Light, who has been summoned all the way from New Zealand. Known for hypnotising her audiences in China with Orchestra of Spheres in 2015, she will be floating through Jah Bar and spraying her kaleidoscopic rays throughout the night!
The first time I experienced a Lady Lazer Light show, I can say with utmost certainty that everyone was tripping on acid. It was the closing set of Camp A Low Hum 2012 and Thought Creature were playing on a stage that had materialized out of nowhere. Hypnotic mirroring of hot pink gorillas and dancing Indian women scattered across the screen, amplifying the psychedelic drone of guitars and synths, and sending the remaining punters into that special state of mutual derangement which is so often reserved for the last night of music festivals.
“Woahhh, this is buzzy,” I uttered to no one in particular.
The first time I actually met her was on the Orchestra of Spheres China tour, while she was on an art residency in Beijing. This month she returns to Chengdu, on the back of her second residency at Red Gate in Feijiacun, Beijing, and we are so excited!! Sklenars is our distinguished guest, a total party animal, the queen of buzzy visuals, and we are beyond privileged to have her grace Jah Bar on Tuesday for an all out audio-visual assault of the senses.
Kindred spirits, the time is nigh to sweep the tomb of your wardrobe and unearth your most GHOULISH garb for an unforgettable night of genre-bending audio-visual madness not seen before in these lands. Abide by the ghosty dress-code and be part of the movement! We beseech you, this is a night not to be missed.
This show is possible due to a culmination of great friends, an incredible local music scene and the desire to create an unforgettable moment in Chengdu music history – a night of barely contained mayhem in one of the most legendary and long-standing venues in town. It exists beyond the confines of genre, background, label, or any of the noise that can get in the way of what is truly important – the music.
Owing to the wondrous power of the innernette, I’ve had the pleasure of knowing Ricky Maymi for a few years now. Known to many as guitarist of the notoriously volatile Brian Jonestown Massacre and The Imajinary Friends, Maymi is also synonymous with the promotion of Chinese indie rock abroad, specifically the Beijing bands that emerged in the late-2000s and have since taken off in a cloud of cigarette smoke on Maybe Mars.
I first came across him when I was living as a student in Beijing, astray in the #wednesdayfreeshotsforladies, all you can drink KTV, shopping mall wasteland of Wudaokou, which post-D22 had become a cultural black hole. Beyond the Katy Perry club remixes, I was ecstatic to discover some of the city’s most cherished acts such as Hedgehog, P.K.14 and Carsick Cars on websites such as Josh Feola’s pangbianr, Tenzenmen, and of course Ricky’s blog Far Out Distant Sounds. Even better, all these bands were just hanging out downtown. Salvation.
Years on, in collaboration with Genjing Records all round GC Nevin Domer (who I met at Carb on Carb and God Bows to Math’s Beijing show in 2013), Far Out Distant Sounds has developed into a distribution, promotion and touring agency for some of Beijing’s finest acts.
We’re comrades as such, music nerds that geek out about Chinese indie rock on the internet all day. As such, it was only a matter of time he was featured here on Kiwese. There just had to be something… remotely… relevant… to New Zeal… oh, yes, here it is!!
Birdstrikingfrom Beijing are in New Zealand this week playing two shows in Auckland on Friday 17 February and Wellington on Saturday 18 February.
The jewel of the Maybe Mars crown, this triple guitar, noise-punk five-piece have gone from strength to strength over the past few years, releasing their banned in China album Birdstriking (2012) on Anton Newcombe’s label A Recordings and heading abroad to tour the U.S. and UK alongside the Brian Jonestown Massacre.
As remote as you can get, New Zealand seems to be the optimal next stop for Far Out Distant Sounds, meaning things finally seem to be heading south for Chinese indie rock – and I mean that in a purely geographic sense.
We caught up with Ricky to find out more about Birdstriking’s Australian / NZ tour, how he got involved with the Chinese music scene and whether he likes pies or not.
Spoiler: Ricky Maymi loves pies. Thank god.
KIWESE: Where are you right now?
RICKY MAYMI: I’m in South Fremantle, Western Australia. Visiting with my son, Otis and producing an album for a guy named Michael Savage. I’m pretty sure if he was from NZ, Flying Nun would be all over him! He’s got elements of Shayne Carter and Andrew Brough (Straitjacket Fits), David Pine and Matthew Bannister (Sneaky Feelings), James Milne (Lawrence Arabia) and a touch of maybe Alasdair Maclean (The Clientele)… This is our second time making an album of his together. The first one is called Used To Write. Look it up!
Maymi is an interesting surname, where is it from, can you talk a bit about your heritage?
It’s a Corsican name, though my Father was from Nicaragua. He was the kind of guy that shouldn’t be talked about too much, if you know what I mean…?
They made a movie about one of his old business partners, George Jung, entitled Blow. The one with Johnny Depp. Anyhow… I’ve heard there are also Maymi’s in Russia.
You are from San Fran. What was it like growing up there, how did you first “get into music”?
It was always a diverse environment, in every way, in the 20th century. I was raised to be an open minded, accepting person and in SF it would completely work against you to be any other way.
My uncle, Vince Welnick was in a legendary SF band called The Tubes (famous for “White Punks On Dope” and “Don’t Touch Me There.”) He would always be coming back from places like Japan or Europe after touring with someone like David Bowie or The Stranglers and him and my aunt Laurie would always have exotic toys and gifts and cassettes like Hunky Dory (Bowie) or Country Life (Roxy Music) for me and the family – and this obviously made a lasting impression. Vince later joined Todd Rundgren’s band, and The Grateful Dead after that.
My other uncle, Ed Dorn was also a working musician who had played in some fantastic bands like Zolar X and The Aurora Pushups (later The Pushups) and he went on to work on studio projects for bands like True West and many other Bay Area greats. Ed had me listening to things like Bill Nelson and The Human League back in the very early 80’s.
“I consider myself very fortunate to have grown up in SF through the 70’s, 80’s and 90’s
I believe I caught the tail end of a great cultural renaissance of the 20th century.”
My mother was a huge Beatles fan so there was also no avoiding the British Invasion bands for me as a young child. Her partner after my father is a real folk music lover and exposed me to Bob Dylan, Tom Rush, Paul Simon and all the rest. He also has a huge appreciation for classical music, so I had a fairly well rounded musical upbringing.
I also played Clarinet, Saxophone and Double Bass in school from an early age.
Prior to getting hooked on Chinese indie music, what kind of awareness and exposure to Chinese culture did you have? I know there is a deep-rooted Chinese community in San Fran and a huge Chinatown.
Looking back, I had very little knowledge before getting involved with the music scene in China and visiting there, which I have now done several times. All of my life in SF I’d always been drawn to Chinatown – for the food, the art, the people and the culture. Some of the most beautiful people on Earth. A glimpse in to another, older world.
In college in SF I was exposed to more of the history of Chinese American culture through either my theatre classes or my writing classes.
How did Far Out Distant Sounds come about and what was your inspiration for starting it? Does it basically operate as a booking agency/distro for Maybe Mars?
It started as a scrapbook style blog (www.faroutdistantsounds.com), with links to hear the music – just somewhere one could go online and get a sense of what was happening. Not a comprehensive list of Chinese indie bands but a good selection of the stuff that interested me enough to investigate further… Like a gateway drug.
I had hoped the blog would inspire people to do the same, and to some degree, it appears to have done that.
What do you look for as a US-based promoter of Chinese talent and how do you go searching for it, with the firewall and all, and various language barriers?
I am not exactly US-based. I’m Earth-based. Also, there is no real scouting going on from my end. I work closely with Maybe Mars in Beijing and when they have a new release to promote and a band they want to tour outside of China, I become involved through a more organic process as this is all done out of love, admiration and respect.
“Everyone involved understands that this movement is distinctly, extraordinarily significant.”
How often do you come to China? Had you visited China prior to being exposed to bands like Skip Skip Ben Ben, Birdstriking and P.K.14 in 2012?
I had never been to China before 2015. I have been there four times now. Can’t wait to go back! I would absolutely live there if I could – I am in love with Beijing!
Beijing is political centre of China and the undisputed mecca for indie music. How do you view this relationship between politics and alternative music?
It definitely plays a hand in informing the artist’s way forward. Gives them something to rail against, but they don’t do that in obvious, trite ways. They are more clever than that…
What’s your personal connection with NZ?
My first trip to NZ was in February, 2008. I was visiting Shayne Carter, who I had become good friends with after his band Dimmer toured with my band in the US. He arranged for us to go to Dunedin as he knew how much the music from there had meant to me. I got to see Martin Phillipps play a solo set in the park at midday by surprise. I got to know Robbie Yeats and stayed with Graeme Downes for a few days. Caught up with some folks I had already come to know in America, David Kilgour and Bob Scott. I got to see Bachelorette, Die! Die! Die! and Ned Collette all for the first time. Also heard Lawrence Arabia for the first time. It was an epic visit! I had an amazing time and every moment was like walking through a dream.
I’ve been back several times since, mostly to tour with BJM, but once with Steve Kilbey from The Church. Him and I went to Napier as well as Dunedin to perform in addition to Christchurch, Wellington and Auckland.
I’ve had the odd relationship with women from NZ as well. Unfortunately, it’s always been just that… Odd! Small country… 😉
Do you like pies?
I, of course, love pies!
In an interview with Slinkrat in 2013, you said “Unlike the rest of the world, [Chinese indie rock] isn’t preoccupied with fitting in to something pre-existing in the entertainment world, which is why it reminds me of Flying Nun in the 80’s.” How do you respond when critics say Chinese indie bands are just imitating Western rock standards, something that could never be directed at Flying Nun bands?
Well, they clearly aren’t listening closely enough and they are judging through the context/filter of Western standards which simply do not apply here.
It’s a bit of passive-aggressive, xenophobic elitism playing in to that perspective as well. Alan McGee said himself that there is no such thing as Chinese rock. So did the NOFX dude. They clearly do not know what the hell they are talking about, but you can’t teach an old dog new tricks. They see it the way they want/need to see it to suit whatever agenda they have – that’s fine because enough people know otherwise.
“Even The Beatles had to start somewhere, the most innovative pop band on Earth were covering Chet Atkins and Motown hits of the day when they started.”
The bands from China I work with have obvious Western influences such as Sonic Youth, Velvet Underground, modern composers and experimental music.
None of these kids had the luxury of “growing up” with the Beatles or Bowie the way I did, for example. Or the critics, for that matter and that’s what they need to understand when critiquing this stuff.
Context. It’s from another world. You could hand the same influences to a Western band and they will never come up with the melodies Chui Wan or Birdstriking come up with.
Or have the sonic, aesthetic sensibility of Zhang Shouwang (Carsick Cars, White+), because they are a product of a different world who’s culture is largely unknown to the Western masses.
They aren’t really thinking about it enough or taking these prime factors in to consideration, so I believe their criticisms are lazy and uninformed.
I guess an extension of the above question, and I may be projecting here, but in the past, Chinese acts that get chosen to play internationally are ones that possess some kind of quintessential Chinese characteristics recognizable by international audiences or purveyors of “world” music. Those who do not fill this oriental role are labelled imitators of Western music. Comment.
Again, lazy journalism. The safer stuff that is a truer representation of pure, traditional Chinese culture is always going to be prioritized and given the green light for grants funding or government approval. There is nothing subversive about it. Overtly, if at all. It will be more easily accepted in the West because it doesn’t compete with Western art in any way. Its it’s own thing.
Again, the views of these so-called critiques on Chinese rock stem from a Western Capitalist (capitalism=racism) perspective. The white man lives in fear of China, period. Think about it…. That is one reason I love doing this. Challenge what it is people believe they know about an entire culture that they actually are too afraid and pre-programmed to ever learn anything about. Everyone is mad at China for buying everything up but no one is getting mad at the people pushing the product.
God forbid those evil Chinese would take a Western folk-art (rock music) and serve it back in a fresh, not jaded, more intriguing way. It’s just impossible, right? Wrong! 😉
Tell us about your relationship with Birdstriking. Do you remember the first time you heard them, or saw them live?
I first heard them in Melbourne in August 2012 with my friends Julian Wu and Shayne Carter. Julian is a Chinese Australian and he had just returned from China with a suitcase full of CDs of all these great Chinese bands. Shayne and I happened to be both staying at Julian’s at the time. It really struck us how much Birdstriking had this 3D’s/Die! Die! Die! thing going on!
I first started to communicate with Wang Xinjiu from Birdstriking around this time. He was on Facebook and was studying in Cardiff, so no firewall. After being in touch with Maybe Mars and helping them to sell a bit of stock in SF, they asked me to help set up shows for Carsick Cars, White+ and The Gar in SF and LA. We did this and it went over pretty well.
At the time, Birdstriking’s vocalist, He Fan was also playing bass for Carsick Cars. He was the first one I met in person. In 2014, Carsick Cars were booked to open for Brian Jonestown Massacre in the UK. Shouwang was ill at the time and couldn’t make it, so we had Birdstriking take their place. This was advantageous as Birdstriking’s album, which was banned from release in China for it’s lyrical content was licensed by BJM’s label and his since been properly released worldwide (excluding China) on A Recordings on CD and vinyl.
Since then, I’ve booked and tour managed an extensive North American tour for Birdstriking in 2015. I went back to Beijing in ’15 and ’16 and produced Birdstriking’s new, upcoming album to be released this year.
It is very exciting, a Chinese band playing in NZ without representing the Embassy or playing at a Chinese cultural festival covered in bank branding! How did this Australia/NZ tour come about? Can we consider it a recon mission for future tours?
Talk to Andrew from Die! Die! Die! – they’ve just recently toured in China with Birdstriking. When I was in Auckland in December having lunch with him and Mikey telling them about the AU dates, they offered to help with NZ. Now it’s all happening. Bless ’em! They are solid guys and kindred spirits. BJM were lucky enough to play some gigs with them in Europe in mid 2008.
Hoping to send Chui Wan, Gate To Otherside, Bedstars, Hiperson, Future Orients and Dream Can to the Southern Hemisphere over the next 18 months or so.
What advice would you give to bands (Chinese or otherwise) wanting to look outward, and/or tour internationally in future?
Create a demand for, and culture around your music and make friends with people in the places you want to play in ahead of time. People who can actually help you set up worthwhile shows. Your hometown is bottom priority.
Thanks and happy new year!
Same to you!
BIRDSTRIKING were one of the most important bands to emerge from the Chinese DIY scene based around the legendary D22 venue. The Noise Punk band have been likened to a Chinese Surf City, highlighted by their unflinching obsession with Sonic Youth and the Brian Jonestown Massacre.
Birdstriking will play only two shows in New Zealand before their Australian tour with label mates Carsick Cars.
2.17 BIRDSTRIKING W/ CARB ON CARB, DAILY KENO @ GOLDEN DAWN, AUCKLAND
The other day, while sunbathing on the lawn of a Melrose flat, my friend and I began thinking about the diminishing human element involved in post-internet music consumption.
When I was at high school, I basically lived at Slow Boat Records and Real Groovy – music havens where I’d browse for hours, listen to CD posts, purchase records, get recommendations from staff, find out about new releases from posters in the window, pick up gig guides and buy tickets to upcoming shows.
I remember getting up at dawn to bus into town and be amongst the first to hear Stadium Arcadium the day it was released in New Zealand. I remember staying overnight outside the ticket booth, flanked by fans draped in sleeping bags, eagerly waiting for sales to open for their first Auckland show. This was about ten years ago now.
Nowadays, you can be a fan without ever leaving your front door. With the exception of buying The All Seeing Hand’s Sand to Glass on vinyl at the door of their album release show, I bought all this year’s featured albums online, without even talking to a single person.
The internet means accessibility has grown but human contact has reduced. But the creation, sharing and consumption of music is still an immensely personal thing. These albums create the soundtrack to so many aspects of our lives, they speak to our own experiences or the experiences of others and make us feel things more deeply. Let’s continue to feel, express ourselves and connect with others.
I’m so thankful to all these artists for producing these works and sharing them into the world, where they can be shared and distributed in an instant across the globe.
In no particular order, here are Kiwese’s favourite releases from New Zealand and China in the Year of the Monkey 2016.
The All Seeing Hand finally gave birth to Sand to Glass in December and oh yesyesyes, it has been worth the wait.
In their first album to feature predominantly English lyrics, Sand to Glass showcases Marks’ politically pertinent wordsmithing, encased in industrial metal clanking by drummer Ben Knight (Rogernomix, Unsanitary Napkin) and those trademark, turbo charged electronic power ups from scratch master Alphabethead.
It is perhaps their most ‘pop’ record to date, if The All Seeing Hand could ever be considered so, with tracks like Lizard Brain and Swarm standing out aspreviouslyreleased singles and indicating a shift away from the more abstract compositions of Mechatronics (2013) and Fog and Debris (2014) and towards a tighter sense of songwriting.
Listened to this on repeat while biking through the smog of Chengdu, the soundtrack to this environmental apocalypse.
Favourite track: Dog Eat Dog
Hu Yang // Xu Huai Ruo Gu
(Be Sure) Beijing, CN
My friend Liu Xing introduced me to Xu Huai Ruo Gu earlier this year and I was immediately hooked. Released digitally on the Berlin/Shanghai techno label Be Sure, which is home to brilliant offerings of mixtapes from artists such as Art’s Difficult (ELVIS.T) and Shanghai techno queen MIIIA.
Formerly known as NiChiFanLeMei, this Mt. Emei born Beijing-based producer creates a kind of brutalist, no nonsense techno – all muscle, no fat.
Possibly my most listened album of the year, suitable for furiously bike riding to a destination or scrubbing the kitchen and getting that shit clean as hell.
Favourite track: Restricted
Orchestra of Spheres // Brothers and Sisters of the Black Lagoon
(Fire Records) Wellington, NZ
Brothers and Sisters of the Black Lagoon is a psychedelic serving of tunes, many which have been part of the Spheres mind-melting live set for the past few years.
Their knack for combining the everyday with the otherworldly is evident throughout the album: Let Us Not Forget, an eerie prayer of reminders before leaving the house, the intensely danceable South East Asian inspired jam Anklung Song and their fast-paced Zombie Zombie cover Rocket #9.
Bubbling with sounds both organic and electronic, voices both chanted and spoken, influences both local and extraterrestrial, Brothers and Sisters of the Black Lagoon is a tasty, special brew from my favourite band of Wellington weirdos.
Favourite track: Anklung Song
Duck Fight Goose // CLVB ZVKVNFT 押打饿《未来俱乐部》
(D-Force Records 大福唱) Shanghai, CN
Duck Fight Goose have teamed up with producer Lv for this smashing record on D-Force, their first release in four years, the soundtrack to interplanetary cyborg dancefloors.
CLVB ZVKVNFT is bursting with imagination and inspiration, combining elements of breakbeat, acid house, synth pop and techno into a cohesive string of 12-tracks. Busy yet uncluttered, frantic yet disciplined. A triumph.
Favourite track: 《马》
Unsanitary Napkin // Patriotic Grooves
(Zero Style, Always Never Fun, Limbless Records) Wellington, NZ
FASCIST VOLCANO SPEWING MOLTEN SHIT
Patriotic Grooves is a fast and furious fuck you from Wellington punk trio Unsanitary Napkin, formed in 2015 and fronted by guitarist/vocalist Hannah Salmon a.k.a. artist Daily Secretion, who is well known for her zines, gig posters and album art in collaboration with other Wellington-based bands.
The 12-tracks of the album are punctuated with broadcast radio beeps and sound grabs from white, male New Zealand politicians and media identities. Incredible, machine-gun-like drumming from Ben, who forms a blistering rhythm section with Rupert on bass.
As the album’s defining image of Donald Trump being annihilated by a rainbow beam from a winged vagina (the sticker version shaped like a sanitary pad) would suggest, Patriotic Grooves is comprised of vaginal blasts of anarcho feminist anger directed towards the chauvinistic and conservative peaks of society.
Brief and intense.
Favourite track: Feminine Odour
iimmune // Abnormal
(D-Force Records 大福唱片) Beijing, CN
Melodic, dramatic and emotional. Thoughtful compositions reminiscent of Four Tet and Aphex Twin, Abnormal is the beginning of Bobo’s metamorphosis from film scores to dancefloor ready techno.
Keep an eye on his electronic label Prajnasonic and stay tuned for next year, when the bass will drop.
Favourite track: 鲸鱼-
So Laid Back Country China // Sin Cristales
(Self-released) Wellington, NZ
“I’m too busy drinking / all of the time”
In September, I found myself sitting in the bath tub of a five star hotel in Auckland, up to my tits in hot water and drowning in anxiety. Like my mind was smashing itself into the ground, stuck in a violent wash cycle of negativity, trapped underwater in a swimming pool covered by an immovable tarpaulin. I felt like I was going to rip my own face off.
Sin Cristales brought me back to earth, having articulated such emotions to great effect. Grateful. xx
Favourite Track: Ballad of Calm Arms
Yue Xuan // Entrance & Exports 岳璇《Entrance & Exports》
(Mo Records) Beijing, CN
Entrance & Exports is a remix of Yue Xuan’s beautiful piano album In & Outfrom 2015. Bringing together producers from around China such as MHP, Broken Thoughts, Hong Qile, iimmune and Cvalda onto one impeccably well-crafted compilation (which was initially available as a free download on Douban), the remixes span Minimalist, Post-Rock, Drum & Bass, Techno, Glitch, Drone, Hiphop, Experimental, Ambient and IDM, bringing a whole new electronic take on the original.
Entrance & Exports and accompanying national Remix Tour is a fine example of how this young composer is utilising the resources and connections around her to produce something new and exciting.
Favourite Track: Nine of Swords (Cvalda Remix)
Mermaidens // Undergrowth
(Flying Out) Wellington, NZ
Mermaidens have come a long way since those first acoustic demos four or five years ago, with Undergrowth released in March establishing them as a staple of the Wellington indie scene.
Enchanting mermaids conjuring “dark witch rock” from the dense scrubland is as psychedelic as it sounds – lurking with hidden dangers, the title-track Undergrowth gradually flows from a slow and dreamy creek into a thrashing, rocky river, a structure many of the songs take on the album. There’s certainly something of the occult about these mermaids, whose reverb drenched vocals often take form in first or second person: “I’m a corpse on the beach / I’m a thing / send me out to sea,” pulling the listener deeper into their imagined natural world.
The undergrowth is a mysterious place barbed with the grit and sharpness of gorse, as well as the strength and unruliness of deep roots. Look forward to new material in 2017.
Favourite track: Under the Mountain II
DOC (Dalian Obscure Club) // Northern Electric Shadow DOC 《北方电影》
(D-Force Records 大福唱片) Dalian, CN
There’s something in the water up in Dalian…
I hadn’t even heard of the Dalian Obscure Club until copies of Northern Electric Shadow turned up on CD and vinyl at NU SPACE.
The power of crashing waves, the fluidity of rising tides, the delicacy of swirling rockpools – this is understated, beautiful ocean-inspired math-rock. A fresh breeze of sea air!
Favourite track: 加百利布吉 Gabey’s Boogie
Males // None the Wiser
(Fishrider Records) Dunedin, NZ
A burst of sunny South Island power-pop. The long-anticipated follow up to their debut MalesMalesMales in 2012, None the Wiser is full of so many bright, catchy riffs and uplifting falsetto parts that wearing sunglasses should be listed as a prerequisite for listening. A set of wonderfully crafted guitar songs.
Favourite track: Chartreuse
The Fuzz // The Root of Innocence 法兹乐队《童心之源》
(Maybe Mars 兵马司) Xi’an, CN
This upbeat, chorus-soaked indie rock record is possibly the most Maybe Mars-y Maybe Mars release to date – you just know Yang Haisong has been here.
The audience were quietly bopping along when The Fuzz came to Chengdu on their enormous album release tour in early 2016. Then when Sijiang from Hiperson came out to help them sing《控制》, the crowd exploded with cheers and turned into a sea of moshing bodies, it was beautiful.
Favourite Track: 《控制》
Peach Milk // Finally EP
(Self-released) Auckland, NZ
Peaches and cream are my favourite kind of lollies. So perhaps it is inevitable that I would be into this new young Auckland producer, who dropped her first EP earlier this year. Peach Milk’s music sounds like her name would suggest – sweet and smooth.
Look forward to her sound evolving in the new year.
Six-tracks of candy-coated indie-pop from our Cantonese speaking friends yourboyfriendsucks! Opening with a tribute to Just Like Honey by the Jesus and Mary Chain, how can I not love this? Surprisingly clean production for QiiiSnacks Records (formerly Full Label), known for their DIY lo-fi recordings.
Perhaps the biggest travesty of 2016 is the dissolution of ybfs!, as the lead singer Zoey has moved to Europe to study. Episode 1 is in fact the final episode. Boo!
Perhaps I’ve included Higher Brothers Mixtape here more for their impact rather than my own personal taste, but their skyrocket to fame and influence on the local scene this year is certainly noteworthy. If Fat Shady put Chengdu hip-hop on the map, Higher Brothers CDC rappers Masiwei (马思唯), Dz, Psy.P and Melo, have dabbed themselves to the top and become one of Chengdu’s, if not China’s most iconic hip-hop acts.
This 19-track offering is a searing blast of arrogance and attitude delivered in a mix of lightening fast Chengduhua and American slang. Whether or not elongated trap beats are your thing, or that each track repeats the chorus about five times, tracks like 《野猪儿》 and 《尴尬》 have attained anthem-like status and established hip-hop as the biggest sound in Chengdu.
Now managed by Asian hip-hop agency 88 Rising, Higher Brothers have taken Chengdu hip-hop to an international level of “worldwide shit.” As collaborations with international artists such as Harikiri, Charlie Heat, Bohan Phoenix and J.Mag roll in, I look forward to their sound maturing more in future.
Debut record from Chengdu indie babes The Hormones, the sophomore album from South Island songstress Nadia Reid, something trippy from Beijing no-wave masters Chui Wan, minimal techno stylings from atmen, the debut record from Kunming electro-punk wastrels South Acid MiMi Dance Team, potentially music from new Maybe Mars signees Lonely Leary and Dream Can perhaps even something from those mysterious Dunedin-based creatures Elan Vital and Kolya…
Construction and redevelopment has seen Chengdu’s cultural landscape (read: the places we go to drink alcohol and listen to music) change dramatically. But as old places close and new ones emerge, great shows from bands, performers, DJs and collectives continue to entertain and inspire.
Along with the loss of Bowie, Prince and George Michael, we lost many of our local stars this year. Morning Bar 早上好 on Minzhu Lu was demolished and construction of the new Music Conservatory concert hall began, Machu Picchu I closed after over a decade of business in the backstreets of Yulin and Soul Kitchen shut up shop just as renovations were completed. But it’s not all doom and gloom, laobans have gone on to open 2.0 versions of their former bars.
Not ones to be phased by forced demolition, the Zaoshanghao crew came back in style with the incredibly epic Morning House in Flower Town, taking over the old Xiwo swimming pool bar and fitting it out with an outdoor-stage, hot pot and rehearsal spaces. The Dojo crew took over Soul Kitchen in the Soho Building and established Berlin Haus, bringing much needed day vibes, strong coffee and workspaces to the inner city. Yulin also saw the opening of Yabany 牙半厘, a smoky little bar fit out with retro neons, cult film screenings and despite lack of any backline, the occasional jam night.
Perhaps the venue making the biggest waves this year has got to be NU SPACE. Freshly renovated at the back of Mintown, NU SPACE is kitted out with a minimalist, concrete design, banging sound system and some of the most diverse billing in the city.
When I first came to Chengdu as a backpacking language student in 2013, I was greeted with jungle fireworks and Drum N Bass and Rammstein blasting from a shopping trolley in the magazine aisle of 7Eleven. Friends took me to Morning Bar, Lantown, Hemp House and Xiwo, vibrant venues tattooed with psychedelic murals and scented with herbal inspiration. Now, more than three years later, none of those venues exist anymore, but the shows certainly go on.
“…when the world outside is scary, boring, ugly, and hateful, what do you do? You either drown in it or you drown it out.”
Music is the gateway, it elevates us above the mundanity of everyday life. We choose to participate in it and represent who we are. Live music is the beating heart of a community, where the performer and audience meet like minded spirits, enter a space of their own creation, and be free.
Without further ado, here are my favourite shows of 2016 in chronological order.
Little Bar, Chengdu
8 January 2016
“NI HAI PAAAAAAA – WO HAI PAAAAA!!”
Man, how good are Chinese Football?! These Wuhan emo kids came through Chengdu on their album release tour way back in January, playing to a sea of woollen cardigans and thick framed glasses. No support act, didn’t need it. Super 爽 guitars, vocal melodies and FEELS. Chinese Football also probably have the strongest merch game in the country. Subsequently invited them to play NUART Festival in October which was also highly dope (see below).
It was a packed house for Berlin-based Canadian producer Mike Shannon and .TAG’s 2nd birthday. A six-hour long set of fresh, cutting house and techno, masterful hypnotism of the dance floor and the delivery of positive vibes. The excellent support slot was Beijing bro Yang Bing, who kept things popping till Sunday lunchtime. Much rave!
Morning House, Chengdu
22 April 2016
Chunyou is like Christmas for music fans. With the introduction of an electronic stage, rental tents courtesy of Steam Hostel and a new abundance of sofas, this year’s Chunyou at Morning House saw many punters stay on site for a memorable weekend of debauchery. Memorable moments include:
Hiperson on the main stage live with new bassist Ming Ming for the first time in Chengdu.
Someone setting off a fucking FLARE in the middle of the Stolen mosh pit.
CDC inviting all the white people up to dance on the stage and all the white people being really excited.
Playing guitar with atmen at the electronic stage on Day 1.
DIO was sick.
Pascal Pinon putting a spell over the main stage
HELEN TING IN THE DJ ROOM ON SUNDAY MORNING. Rolling out of my shitty tent after passing out for two hours and stumbling into the DJ hut with no pants on to find this insane Hong Kong lady with an afro, coloured shades and enormous Aladdin pants absolutely slaying the decks with a mix of afrobeat, soul and funk, a dedicated crowd of ravers grooving strong, mystically attaining sunglasses as the sun came up. Fuck how good was Helen Ting?!
Rain rain rain. More rain. Stage closures, mud, the gear getting soaked, the police shut down… As dysfunctional as Aus-atmen ended up being, it was a testament to DIY culture, a love of electronic music and thinking big. It was also completely unforgettable. Check out the review here.
Hiperson + Lonely Leary
NU SPACE, Chengdu
10 June 2016
This was the first show I put on at NU SPACE and is also my favourite poster of the year, a collage we made of clippings from an old flipbook featuring a flying decapitated head. We posted it around the city on cheap A4 print outs.
Lonely Leary have two speeds: fast or faster. Bass heavy rhythms drove the blitzing pace like a schizophrenic roller coaster. There was no looking back for Hiperson, who played a killer set of new material, confident and self-assured. May have shed a tear.
NU SPACE had just opened and we were working a lot of shit out… the lighting really wasn’t great, but these two bands together in concert for a home crowd was in my eyes a real triumph.
Yue Xuan: Entrance and Exports Remix Project
feat. Cvalda + VJ PLGRM
NU SPACE, Chengdu
24 June 2016
Beijing-based pianist Yue Xuan 岳璇 came to Chengdu as part of her Remix tour to perform with Cvalda, one of the producers who remixed a track from In & Out (2015) that formed the Entrance & Exports remix album. Comprised of three sections; contemporary piano, electronic collaboration and drum n bass, this was a unique and creatively curated live show from one of China’s biggest talents.
Also a composer for film, Yue Xuan’s concert was suitably accompanied by incredibly beautiful visual pieces by PLGRM on the big screen for us in this intimate performance. Oh, and we got to see Cvalda in “formal dress” as she laid down some serious bass.
Fairy Mountain, Wulong, Chongqing
8-9 July 2016
NUTS Livehouse and Morning 早上好 have done it again, Neverland 2016 was bigger, better and more well organised than ever – no deadly mud slide between stages, and a quarantining of the psy-trance stage to it’s own little hill commune in the forest. The addition of more food stalls was a welcome relief (shout out Baker Street for giving us the last pasta scrapings on Day 2), a big improvement from the food options available in 2015.
Wild animals, beautiful landscapes, hand built teepees and jamming instruments providing pleasing environments for those on acid and co., while the downside was an influx of loud, obnoxious tourists who killed the vibe from about 9pm – 2am both nights with yelling, beer showers and general fuckwittery at the Main Stage.
Metope and Yang Bing were highlights on Day 1, as Dusk Till Dawn proved their namesake. We were treated to the best of Shanghai, with MIIIA and MHP making appearances on the second night. Raving on a mountain in the early morning as the morning mist slowly glides in from the hills – YES. Go Neverland!
Punk Fest CDC
Morning House, Chengdu
6 August 2016
How many punk bands are there in Chengdu?
According to Punk Fest CDC, actually quite a few.
It was an absolute scorcher in Flower Town and hoards of people turned up for a good time, enticed by the free entry ticket price. A ferocious mosh pit fuelled by copious amounts of beer, Morning House was buzzing for a day and night of recurrent stage diving and comic pool throws. Stink Mouth threw a bunch of condoms into the crowd. Good times.
The Others Way Festival
2 September 2016
BOY am I happy about Cut Off Your Hands coming back this year. Their performance at The Others Way was a total throwback to 2008’s You & I and even Takes Slowly Over from their first EP, finishing up with Nick Johnson jumping on guitar for their new tune Hate Somebody. Brilliant band, incredibly energy and everyone was going ape shit like it was 2006.
The Others Way coordinated all the venues on K Road into a night packed full of back to back shows and it was impeccably well organized. I also caught great performances from Nadia Reid, Fazerdaze, Purple Pilgrims, Mermaidens, Shocking Pinks and the inimitably chaotic King Loser.
NU SPACE, Chengdu
17 September 2016
Powerful women rocking out, YEAH. Paula and Ali totally rock. French imports JC Satàn were an unexpected delight. Bathed in red light, the band jumped and lurched and grooved their way through an set of throttling, kerosine coated garage punk somewhere between The Ramones, Thee Oh Sees and Queens of the Stone Age. A two-metre tall keyboardist thrashed about like a barely caged giraffe while guitarist Arthur kicked and shook like an electrified rock and roll Bruce Lee.
The bassist and guitarist lost their guitars in transit (ouch), but took kindly to borrowed instruments which I was surprised to find intact after the show, not pummelled into a fine dust. A mighty gig that brought out all the head bangers, stoners and more than a few devils horns. Rock is not dead, thank god.
Three days of sunshine, four stages, hundreds of market stalls and thousands of punters – 2016 was the first year I’ve been on board at NUART Festival and man, what a trip. Chengdu community vibes and street culture combined with some of the most innovative alternative acts in the country. A cohesion of genres, with a smorgasbord on the Main Stage, experimental/electronic music in NU SPACE, a DJ stage and a vinyl record zone run by Marco Duits himself.
I feel this festival brings the community together, young and old, the livehouses and the clubs. Absolutely amazing and completely exhausting. Too many highlights to mention! Marco closing the festival with an Always on the Run 7″ by Lenny Kravitz was pretty amazing though.
This year’s line-up:
WHAI, Chinese Football, ChaCha + DJ Aivilox, Wednesday’s Trip, South Acid MiMi Dance Team, CDC, Sulumi, Biggaton + Blood Dunza (JA), Hu Yang, iimmune, Taiga, Charlie Tango (FR), Starcardigan (RU), Wanmei Daoli, Fake Swing, Jahwahzoo, Sound and Fury, Zhang Xiaobing and Friends, U M U / Microsoft Voices (NZ), Faded Ghost, 3000, Xiang, Su, Kaiser and May, Lao G, Just Charlie, Jovian and Marco Duits.
This year Kiwese was pleased to tour with mr sterile Assembly across Guangzhou, Guiyang, Chengdu, Chongqing, Wuhan and Beijing. While each show was unique, Guangzhou was my favourite.
Hauling gear up four flights of stairs paid off as Loft345 came alive with dancing and general limb flailing. Despite a bass amp meltdown, Chrissie ripped through a set of chest pummeling tunes through a tiny guitar amp with no overdrive, while mr sterile, having upgraded from the drum-less venue in Shanghai, happily smashed away on his melange of cymbals while yelling out pagefuls of lyrics to those bafflingly brilliant time signatures.
The night was a success thanks to our hosts QiiiSnacks Records and Die! Chiwawa!Die! – an inimitable Guangzhou hardcore noise/screamo/chiptune band which frontwoman Jinbo bouncing up and down like a possessed Pokémon while guitarist Howie and the other screamo vocalist thrashing across the ground as if it were being tilted and shaken by an omnipotent overlord.
Sabu Toyozumi + Li Jianhong
NU SPACE, Chengdu
26 October 2016
In a tour named 耳舍 (lit: ear tongue), acclaimed experimental guitarist Li Jianhong 李剣鴻 and legendary Japanese free jazz drummer Sabu Toyozumi treated us to a two hour display of skill, stamina and imagination.
Toyozumi, now in his seventies, was like a playful kid in a sandpit, pushing the house kit through its paces – smacking, dismantling and scraping it together, even whipping the snare with his sock at one point. Li Jianhong deftly cast out a palette of colours with his effects board, the scrape of his guitar and slamming of wah pedals sounded as if he were fishing for frequencies in an ocean of sound – calm, patient and free. A journey through tone and timbre that constantly reached into new territory, furthered by local multi-instrumentalist and improv king Kun jumping on violin for the last segment of the show.
Afterwards, the promoter said Sabu only played for 30 minutes in Chongqing, which made us feel even luckier to be treated to such an epic long set. Sabu was also super happy to chat with fans afterwards and sign CDs. Super swell guy! Stay tuned for his NZ tour with the Sound and Light Exploration Society next year.
Michael RotherSupport: Chui Wan
Little Bar Space, Chengdu
31 October 2016
VICE have brought quite a few touring acts to Chengdu this year (Ratatat, Tonstartssbandht) but Krautrock king Michael Rother from Neu!, Harmonia and Kraftwerk with Beijing psych/no-wave band Chui Wan took the cake. Little Bar Space is a cavernous monstrosity when half empty and even Rother himself politely commented on the small crowd in between songs.
Chui Wan is like LSD for the ears. Michael Rother and band were uplifting, melodic and joyful. Lovely, though with that number of people (100-150 ish), I couldn’t help but think how great and intimate it could have been at NU SPACE…
NU SPACE, Chengdu
18 November 2016
When Eagulls took the stage my heart stopped.
Was it our newly minted fog machine that cloaked them in a turquoise haze of gothic mystery? Was it frontman George Mitchell’s post-punk nonchalance and lyrical wordsmithing? Was it the bass line from Skipping that echoes the refrain from How Soon is Now? Was it that I’d witnessed their metamorphosis into an immensely professional, polished and powerful live act directly after Tsingdao cans, rollies and toilet banter?
Berlin Haus, Chengdu
22 November 2016
This was a really special show for me because:
a) we threw it together last minute
b) it was Sisu’s first time ever playing an acoustic show
c) it was the first ever Berlin Haus show.
Shout out to the chick huffing a qiqiu (balloon) at the back lol. Classic Tuesday night Soho.
Octopoulpe, Le Crabe, Digou, Klaus Legal
NU SPACE, Chengdu
13 December 2016
Two aliens slithered on stage and blasted into a set of garbled bass/vocals hardcore before Donald Trump emerged bearing hot dogs and hamburgers then was skinned alive and left for dead. The show went on until Trump was revived by the sound of Chinese pop and destroyed by a glowing orb where he and the aliens were forced to evacuate by dragging themselves along the floor out the door, leaving Earth forever.
The All Seeing Hand, Womb, Unsanitary Napkin
23 December 2016
Wellington disciples of the A.S.H order convened upon Meow to praise their latest auditory offering Sand to Glass with support from Unsanitary Napkin, Womb and artist Georgette Brown. A feast for the eyes and ears! The All Seeing Hand are in a class of their own, the shamans of sound, the Triptych of Trippy – stay tuned for their China wanderings in 2017.
Caspian @ Little Bar Space, Chengdu
Noise Temple @ .TAG
Audible Area:SunWei + 16ways @ NU SPACE, Chengdu
Dizzy Love + Wednesday’s Trip @ NU SPACE, Chengdu
DJ Sodeyama @ Here We Go, Chengdu
Street Party Rain Out: Marco Duits @ Hakka Bar, Chengdu
U Brown + Blood Dunza @ Jah Bar, Chengdu
Tobias @ Here We Go, Chengdu
All the Yang Bing raves @ .TAG in the first half of 2016
What will 2017 bring?
I’d like to see shows make there way out into the public, in found locations or reconverted spaces. DJ Marco Duits is someone who constantly leads the way with this in his ‘Street Party’ concept, though even these shows are becoming few and far between. No one wants to get in trouble, or worse, have their gear confiscated, but how can we branch out into different spaces and create something new for ourselves? I look forward to the new year of new shows and new adventures.
Full disclosure: I work at NU SPACE so saw a lot of shows there and missed those at other venues.
This year, Kiwese was lucky to be invited to Going Global Music Conference and The Others Way Festival in Auckland – many thanks to Dylan, Kath at the Independent New Zealand Music Commission for the opportunity!
Header image by John Yingling @theworldunderground
Lonely Leary are a Beijing-based three-piece post-punk/noise rock band from Shandong. They incorporate fast drums, muddy baselines and rough guitar noise in a pursuit to create a relatively violent sound.
NU SPACE has invited them to Chengdu to play a show this Friday 10 June with local favourites Hiperson!
Kiwese caught up with the band members Qiu Chi 邱驰 (bass/vocals) Song Ang 宋昂 (guitar) and Li Baoning 李保宁 (drums) to find out more…
Back in 2012, three college students entrenched in boredom were practicing their instruments alone in the secluded district of Changqing, Jinan. Initially the band set about covering a few simple punk songs, as well as post-punk bands such as Joy Division. They adopted the name “Lonely Lili” while playing spontaneous rock shows on campus. Later due to job changes and academic activities, the band was suspended.
In 2014, all three members moved to Beijing and Lonely Leary was reborn, trading ‘Lili’ for ‘Leary,’ a tribute to Timothy Leary, the creator of LSD. With a new name in a new city, the band began rehearsing and writing songs in pursuit of their own punk-oriented style. During the summer of 2014, the band performed prolifically at School Bar, XP and other rock clubs, gradually gaining a small and loyal following within the grungy confines of the Beijing underground.
The Shocking Pinks show took place at the notorious hutong dive School Bar and was supported by two local acts – one of them was Lonely Leary, and they totally kicked ass. Scatty basslines, frantic drumming, possessed vocals, screeching guitar… A week later, I saw them play again at Temple Bar. Again, excellent.
Beijing has provided the Shandong-born trio the perfect environment in which to hone their songs and their live performance, with what seems like endless bars and livehouses to play at on a regular basis.
NU SPACE is proud to present LONELY LEARY, the post-punk/noise-rock trio tipped by critics as the most exciting new band out of Beijing this year.
KIWESE: You guys are from Shandong. Can you describe what Jinan is like for those of us who don’t know?
SONG: Changqing is basically a beautiful place. I think it’s more suitable for old people rather than youths to live there.
QIU: There was originally a village or wasteland. You know, the university and college downtown couldn’t take so many students after enrolment expansion over the years, so the government transformed the villages into campuses and sent a large number of students there. The campuses are isolated by mountains and we have to take illegal taxis to go to other places. There is also a commercial center with many low-cost shops, stalls, internet bars and small hotels for lovers.
Music hobbyists can learn to play guitar and drums in some instrument shops. They used to form bands and cover “Beyond”. There were over a hundred Beyond cover bands I think.
LI: The first time I met Song Ang he was playing guitar in a cover band in an instrument shop. He hated the songs they played, so we began to play together while learning our instruments. Qiu Chi joined us after graduating, then we became a trio and began to cover some punk bands. Our playing technique was poor then.
You started out covering punk bands. What were some of the first songs you covered?
Under Baby, Joyside and Ramones. Including some “punk songs” by Hedgehog.
What is up with the drummer situation?
We have some drummer adjustments recently. Wang Jianan played drums for the last half of the year. She is a student at Beijing Film Academy with a good sense of drum playing. She created many amazing drum riffs in new songs. The only problem she has is technique – it’s a little hard for her to play the fast songs perfectly live and in recording, after all, she hasn’t played for that long.
So she will study and practice the basic skills and techniques, and the original drummer Li will take the place of her at present. Li plays fiercely like a drum machine.
You moved to Beijing in 2014, how does the city influence your music?
QIU: I simply took playing in a band as pastime in Shandong. At that time, I didn’t know much about making music as an amateur. After graduating and being in Beijing in 2012, I separated from them because they were still in Jinan. I think Lonely Leary was about to dissolve then. However, I saw lots of lives in Beijing and was attracted by its dynamic rock’ n roll atmosphere. There are so many fresh bands who studied and vied with each other – they created the scene together. I was encouraged by them and got the enthusiasm to continue Lonely Leary. Then the other guys came to Beijing soon after, so I had no excuse to stop the band any more.
SONG: I think Beijing is a high-speed city with bad environment and people here are restless. I knew nothing about the city beside music before I came here. I didn’t know what to do then and always felt anxious and confused. In fact, three of us all get this feeling and deeply affected. The violent sound of our music has close connection with the situation. Sometimes the bad moods also get the band into trouble. That’s terrible.
LI: Beijing has more bands and lives than I had ever known in college. You know, most bands in Jinan are metal and pop, as well as some folk singers. However, in Beijing, there are many bands whose temperaments are quite same as us, especially in XP Club. I can learn from them at close range. At the time, I thought I would die without regrets if I could perform in XP, ha-ha!
Tell us about the new album, how is that coming along? Where are you planning to record it? Will you release it independently or with a label?
Qiu: Making an album has been our dream for a long time. We decided on it at the end of last year as we think we have enough songs now. In fact, we didn’t think too much on writing songs at first, no uniform style or concept was carried through. Many songs didn’t sound the same because they are written in a different period. It really troubled us then! So we tried to preset a theme for the album to keep our creation in a controllable range. It makes the new songs clearer. We also changed some old songs based on our preset concept. Some old songs have been abandoned.
SONG: Some of our songs have been in an indeterminate state for two years before we reached our preset concept. Fortunately, they finally morphed into the shape that we’ve described in our introduction.
LI: Our demo recordings are very simple. We used an iPad to record and mix to get the finished product that you hear on Douban. They have no details or good tones, just a standard of “clear enough to hear.”
Our ignorance towards “real recording” caused this undesirable lo-fi sound. Now we are learning and rehearsing a lot to be ready for the formal recording. Then we probably try to contact labels which are reliable and have interest in us.
You play fairly regularly in Beijing. What are your favourite venues to play?
SONG: We all love XP Club. We can often perform with the bands we like there. I prefer to Old What after XP closed. I feel comfort in its simple and rough environment.
QIU: I would like Old What better if the sound is improved. I like School Bar most now.
LI: We used to play XP a lot because it was close to where we lived. Now we go to School Bar most often.
Who are some other bands you really like in Beijing at the moment and why?
QIU: We all like P.K.14 and Snapline. Alpine Decline is my recently favorite.
SONG: I like Alpine Decline as well. I also recommend Death Narcissist and Bedstars.
LI: I like Re-TROS and Supermarket, also Dr. Liu and the Human Centipede and Soviet Pop.
Your music reminds me of Joy Division and The B52s, as well as more recent bands like Thee Oh Sees and Re-TROS. What bands have had the biggest influence on you?
QIU: David Bowie, The Velvet Underground, Joy Division, P.K.14 and Sun City Girls have a deep ideological influence on me. Savages, Mars, Disconcerts, Sleaford Mods, Mika Miko are my favourites recently. I love their basslines.
SONG: I recommend A Place to Bury Strangers for their destructive lives, firm basslines and manic guitar noise. Sonic Youth brings me inspiration on playing guitar, I’ve learned their tuning and tone a lot. I also like the teen spirit sound of Big Black and Spacemen 3’s psychedelic guitar.
LI: Old post-punk bands like Joy Division, Sort Sol, Talking Heads have influenced so many people for their tension of contradiction.
Have you come to Chengdu before? What impressions do you have of this place?
QIU: I went four years ago. I think People’s Park is a funny place and I love “LengGuo ChuanChuan”.
LI: I went last year. I didn’t go to too many places, but I think some temples here are very good.
SONG: I have never been to Chengdu. I think it may be a wet place.
Anything you want to say to people coming to the show in Chengdu?
QIU: All I want to say are painted on the poster. Really fantastic design ha-ha!
LI: Hi, Person!
SONG: We are three plain dealers from Shandong. Welcome to come and see us!
Lonely Leary’s alcohol of choice?
QIU & SONG: Jingjiu. Absolutely!
Li: I prefer pineapple beer.
Welcome to Chengdu, thanks guys!
We’ve never been out so far for a live show before. Thanks NU SPACE for inviting us!
Rumours have been circulating for months now, but the demolition of Morning Bar 早上好 on Minzhu Lu has finally become a reality.
Kiwese looks back on the old venue and forward to the new, ahead of Chunyou春游 2016 this weekend.
When people ask where I learned to speak Chinese, there are two truths – I studied at Victoria University of Wellington, Beijing Language and Culture University and Sichuan University for five years in three programs. But it was at Zaoshanghao where I really found my voice.
Located on Minzhu Lu 民主路 (Democracy Road), a quiet old street off the First Ring Road in the city centre, Zaoshanghao was a little local bar run by owner Zhang Xin and his crew of can-do local bros. Driven by a DIY attitude, love of chilling and independent music, over the past seven years Zaoshanghao has become a staple venue in the Chengdu music scene as well as the hosts and collaborators of some of the city’s most memorable music festivals.
Zaoshanghao on Minzhu Lu is a five minute walk from my flat or a two minute bike ride. Many friends live even closer; some moved to Jiuyanqiao just to be near it. Stylistically speaking, the crowd is a real mixed bag – hip hop rap stars, rasta potheads, punk guitarists, computer engineers, wandering folk singers, poets, hairdressers, techno producers, experimental cellists, oil painters, and more. Zaoshanghao is the beating heart of our little community.
I’ve celebrated the past two birthdays and New Year’s Eves at Zaoshanghao. I’ve met almost all my friends there. Zaoshanghao and the community of friends that make it great are a huge reason I am living here.
Though not an official ‘livehouse,’ the low stage and banging PA system has spawned random jam sessions, afternoon reggae gigs, experimental shows and impromptu DJ sets. While the majority of shows are hosted at the garden venue in Flower Town, the Minzhu Lu stage has been graced by bands as diverse as Soviet Pop, Noise Temple, Kawa and Jurat T.T.
With a fairly loose chuck-on-your-own music policy, people would be constantly plugging their phones into the main system, filling the weekday airwaves with music to share.
Zaoshanghao catered through the seasons, providing a place of warmth and good company all year round. The courtyard out back is cold beer in the summer and roasting round the fire in the winter. Kittens and spiders scuttled about, the foozball table perpetually in motion. Patti Smith gazed over the space in her white shirt and blazer, while the giant wooden giraffe towered above the stage.
Climb the stairs to the rooftop and you’ll find yourself sitting on a platform among the haggard rooftops of the houses next door. Amidst everyone’s grief about the closure, many have cited the greatest loss as the two banana trees out back, which have grown into ginormous beasts over the past four years due to being smothered in a full bag of fertiliser.
The charm of Zaoshanghao also stems from the neighbourhood. Surrounded by trees, cheap eateries and dilapidated wooden houses, the kind where walls are insulated with compressed ferns and newspapers. Morning traffic consists of elderly folk biking home from the vegetable market, while in the afternoon the street is lined with three-wheeled snack vendors parking up to feed the outpour of students from the music academy.
The sound of musical instruments and school children can be heard floating through the air, punctuated by the distinctive clink-clink-clank of iron hammers from local sweet sellers – the Chengdu version of the Mr. Whippy tune. The buildings are built in the old style, with traditionally tiled rooftops, open balconies and patterned brick window fittings.
Minzhu Lu held the vestiges of the city people once knew, and while towering skyscrapers and identical apartment buildings sprung up like wild grass, Zaoshanghao was a little haven of sanity amidst the madness. People felt comfortable there. It was like home.
In a city that has experienced such rapid, unimaginable change over the past 20 years, it was in this familiar environment that the second Zaoshanghao found it’s roots. Although the buildings were rundown, they were full of character and history, traits which become scarcer and scarcer with every newly built shopping complex.
Minzhu Lu is a quiet residential street off the First Ring Road, properties from 1 through 13 were given their demolition eviction notices late last year. Zaoshanghao is number 13.
Word that Zaoshanghao was going to be 拆掉 demolished began circulating in conversation about a year ago – everything but the date was certain. The government wanted to build a music hall next to the music school, everything had to go.
On several occasions throughout the year, it was said the bar only had two weeks left. Weeks later, we’d still be sitting out back drinking beers.
In November, it sounded as if the news was certain – two weeks left, for 真的 real this time. Residents from the surrounding apartments were shifting out, the moving trucks were being piled up, restaurants pulled their shutters down and pasted notices of thanks to the community for their years of patronage.
Along with two architect friends, I began to film interviews with friends of Zaoshanghao and local restaurants along Minzhu Lu, with the idea of producing a documentary about the demolition of the street called ‘Goodbye, Democracy Road‘ 《民主路，再见》.
“How long have you lived here?” Yang Yang yelled across to a resident washing the dishes in their sink on the balcony.
“Since 1973,” they replied, “we’ve got to leave by this weekend.”
Everyone was shocked to hear that there were only two weeks left, and as with most Chinese bureaucracy, the issue was shelved for another few months.
All throughout the winter, we converged around the brazier out back, burning the remnants of the old community around us.
Winter was spent sifting through the vacated brick flats for wood, old furniture and pot plants. Some of the stuff the guys found looked like it belonged in a museum. Rescuing the old things before the bulldozers come in and nothing is spared.
With the neighbours gone, the sound system was pumped up to its full potential. New Year’s saw Hiroshi play hard techno until 6am.
Zaoshanghao didn’t officially open again after Chinese New Year.
Demolition of Minzhu Lu started mid-last month at the mouth of the street. A blue wall was put up around the perimeter before being replaced with a brick one, which will likely remain that way for another year or so.
The blue wall now sits around Zaoshanghao and it’s neighbours, marking the inevitable. While many of us are upset, the Zaoshanghao crew are already onto the next. This is the second venue owner Zhang Xin has been evicted from in four years and he is not letting it stop him from continuing.
I’ve been super emotional about the demolition of the old street and community. The evicted residents will be scattered into soulless high rises on the outskirts of the third ring road, forever separated from the neighbours they’ve played mahjong with for the past three decades. The abandoned buildings will be left to decay, then replaced by buildings of the homogenised, modern city blueprint.
For my local friends, the news is sad but commonplace. I listen to their stories about what Chengdu was like when they were young – full of teahouses with big wooden slide doors, street side barbershops, swimming in the river, roads full of bicycles and carts. Now it is enormous high rises, freeways packed with cars and billboard screens. I think about what Wellington was like when I was younger. It more or less the same now. Revisiting spots from one’s childhood is not a possibility that exists for the locals of Chengdu. People have a different perspective on change here, it has been a constant for as long as they can remember.
Sometimes I think that’s why people here like taking photos, as a way of preserving memories when everything has been destroyed.
However, in an endless cycle of destruction and construction, there is life, rebirth and creativity.
Zaoshanghao have started a new venue out in Flower Town: Morning House. Sunshine, fresh air, bird song in the flower-growing village in the south of the city. Moving into the old Xiwo, the crew have established two more stages on either side of the swimming pool. New beginnings, bigger and better. Shit just got real.
In true DIY style, Zaoshanghao have smashed down the fence at the back and expanded into some of the old houses out back, converting them into an electronic music room, rehearsal space and studios for local band Stolen 秘密行动 and folk singer Zhang Xiaobing 张小饼. At the front, they have built a beautiful wooden stage beneath a plot of tall, willowing trees. While the banana trees at Minzhu Lu will be missed, there are plenty more tree friends at the new venue.
The new Zaoshanghao is beautiful and inspired. This weekend it is gonna kick off, as the fourth annual Chunyou rolls around!!
Get your pre-sales on Zaomengshe.
4月23日 DAY 1: BAND STAGE 乐队舞台
14：30-15：20 疆与他的朋友们 Jiang with Friends
15：20-16：10 亮子与乐队 Liang Zi
16：10-17：00 Pascal Pinon（Iceland）
17：00-17：50 Kingkong&The Chum（Thailand）
17：50-18：40 Apollo 20
19：30-20：20 海朋森 Hiperson
20：20-21：10 未之域 Terra Incognita
21：10-22：00 罗友生 Luo You Sheng
22：00-22：50 秘密行动 Stolen
22：50-23：40 声音玩具 Soundtoy
4月24日 DAY 2: BAND STAGE 乐队舞台
14：30-15：20 汪文伟 Wang Wen Wei（SH）
15：20-16：10 张尧 Zhang Yao（CQ）
16：10-17：00 黄晶与乐队 Huang Jing（CQ）
17：00-17：50 搞乐队 Gao Band
19：30-20：20 树子 Shuzi
20：20-21：10 Don Camilo（France）
21：10-22：00 说唱会馆 CDC
4月23日 DAY 1: ELECTRONIC STAGE 电子舞台
14：00-15：00 Eric Huang
4月24日 DAY 2: ELECTRONIC STAGE 电子舞台
03：00-05：30 Yang Bing（BJ）
07：30-09：30 Voko X
11：30-14：00 chill set
14：00-16：00 Cvalda & Ni Bing（BJ）
16：30-18：00 Summer & Nature Bao
19：30-21：30 Harry Ho
21：30-23：30 Mickey Zhang（BJ）
I am going to be playing with techno kweens Su and Xiang from atmen in creating some dark grooves on the Electronic stage!
Kiwese is very glad to join the Zaoshanghao crew this year in making videos and doing interviews! Stay tuned for more soon..
From Wellington stoner country to Beijing glitch hop, 2015 was packed with awesome releases from both New Zealand and China. Here are fifteen Kiwese favourites!
Illustration by Ali Pang.
With Knees of Honey in Goodbye Canyon bySo Laid Back Country China
So Laid Back Country China (or 很放松乡村中国) is a four-piece band fronted by Harriet Ferry and Michael Keane, former members of beloved Wellington folk/country hooligans Big River Chain and John the Baptist.
Originally meant to be an EP, With Knees of Honey in Goodbye Canyon, is a slow-release trip into wide open country spaces, at once soothing and hair-raising in the sparse layering of instrumentation and vocals.
No Need For Another History byHiperson 《我不要别的历史》 海朋森
Rejoice!! Our long diet ofHiperson demos streamed off Youku was finally supplemented this year, with No Need For Another Historyreleased on Maybe Mars in April. Recorded by China’s post-punk overlord Yang Haisong, Hiperson have re-recorded well-loved tunes such as《他打定主意做一个游客》He Made Up His Mind to Be a Tourist and 《门》Entrance, alongsidenew material that reasserts their guitar-driven, sharp tongued sound.
Those distinctive stabbing staccato vocals from Chen Sijiang, alongside puns such as “这是通往剧院的大路!” yelled in tandem with guitarist Ji Yinan, in my opinion make Hiperson one of the most lyrically talented bands in China today. Check out the Kiwese interview with Hiperson earlier this year.
TANGO is a joy from start to finish – really tight songwriting and jangly pop melodies led by the band’s Anji Sami and Jonathan Toy. Nominated for Best Alternative Album at this year’s NZ Music Awards, lost out to UMO’s Multi-Love (also excellent).
China’s national football team is unlikely to score points anywhere, but Wuhan’s delightful indie-pop band Chinese Football are winners!
This year Chinese Football released both a self-titled EP and a self-titled full length album, the latter of which I am rating here. Sparkling TTNG-esque math rock riffs, endearing vocal harmonies and brightness. Forever destined to be compared to American Football, Chinese Football’s music would indeed be suited to cruising around the sunny Midwest.
Chinese Football play Chengdu’s Little Bar on 8 January and Chongqing’s NUTS on the 9th. Yay!
Aucklandite indie-emo-pop power duo Carb on Carb released their much anticipated self-titled album back in February, what a pearler! James and Nicole have been busy touring the USA this year, making a lot of new friends and forging their own American dreams.
Fresh release from the inimitable Howie Lee, just out this month on Alpha Pup. Beijing blazzzze – Mù Chè Shān Chū is packed with those East Asian samples, clicks and tweaks Lee has become known for. Featuring fresh takes on tracks Sinka and Shang from last year’s also excellent Eastside Sampler Series. Future kungfu swag.
Oh man. I fucking love Terror of the Deep. Their music makes me imagine walking up Riddiford Street with sunglasses on, blue skies, and a hop in my step. Flax and toi toi. Newtown. Space Epic has a much lusher, texture than TOTD’s previous spare and crunchy bass-guitar-drums sound, with the addition of Tom Watson on keyboard and trumpet. Picks up where Permanent Weekend left off, with a re-recording of ‘When the Planets Align.’
Recorded by OOS’s Dan Beban at Pyramid Club and mixed into the galaxies in 2015. A journey through space, to Neptune and beyond…
Demos on Douban by South Acid MiMi Dance Team
South Acid MiMi (Shishi, Weilin + Yixiao) are such rad bitches. Straight outta Kunming, this freaky disco punk trio is leading crowds to the dance floor. I saw one of their early shows in January when I was randomly in Kunming and it was the most refreshing thing I’d been to in ages. They sound like… Grimes? Iggy Pop? Karen O?
These bizarre, addictive beats from three keyboards, vocals, a laptop, LED light poi and various bottles of spirits. South Acid MiMi are gearing up to release an album with Ruby Eyes Records in Beijing next year.
Stay tuned for a Lady Lazer Light x Kiwese x South Acid MiMi production very soon!!
Mermaidens are Scrumpylicious incantation creators. Seed is a mean tune. Sounds like discordant fuzzy kelp scum, the three-piece creating a bubble of noise that scares off even those freaky fish with lightbulbs on their head. Look forward to more next year.
Stolen (pinyin: mìmì xíngdòng) tore shit up this year. I saw them play a countless number of times around the country, bursting with energy at every gig. After signing to Beijing’s new D-Force Records, they had the opportunity to professionally record in Taipei, producing a more refined collection of their excellent free demos.
Dark, chilling, insanely danceable – with Loop and a huge national tour under their belt this year, Stolen have raised the bar even higher. While one hears Joy Division or Kraftwerk when listening to Stolen, their newer material is more electronic beat based, scatty tech rhythms. The boys have been writing new material up in the mountains, so anticipate more from them next year!
Wellington woodland dream folk. Womb is the solo project of Charlotte Forrester, womb companion of Haz Forrester, who she used to play with in Athuzela Brown. This is really gorgeous music. The echoey vocals remind me a lot of Grouper, while the sparse guitar phrasing in ‘Sounds of Our Voices’ definitely brings Electrelane to mind. Sonorous Circle label mate Sean Kelly mixed and mastered these five lovely tracks with some Seth Frightening magic.
Fatshady is the biggest rapper in Chengdu. He entered the hip-hop lexicon several years ago with his track 《明天不上班》, empowering audiences to bunk off work in style. He raps completely in Chengduhua, garnering immediate appeal by opposing the bland, standardised Mandarin of TV, radio, school, officialdom…
While the beats are pretty simple (as if ‘shab shabba Ranks’ could come in at any moment), the rapping is second to none. While I can only understand half of his lyrics, his music speaks to my friends unlike any other artist I’ve seen – because he is using their language. There is no one else doing it quite like Fatshady. Out on C.D.C.
A. Cushion Plant and B. Gold in Quartz by Team Cat Food
(Auckland via Wellington, NZ)
February saw a Team Cat Food double release. As with everything these guys have released, I love it. Mellow and vibey electronic textures and beats, with i.ryoko and Seth Frightening featuring on each side. Churrrr.
A Million Farewells by Tom Cruise and Katie Holmes
Well, this is epic. Shanghai’s famously un-Googleable Tom Cruise and Katie Holmes have released this noisy emotional outpouring on Genjing Records. Former So So Modern drummer Daniel Nagels joins ‘Tom’ – Xiao Zhong of Pairs, ‘Katie’ – Sharon Cee-Q with her dreamy vocals, and Samuel Walsh on bass.
‘My Life is Over’ will have your ears ringing, while other more dream pop/shoegaze tracks act as a welcome counterpoint. Beautiful stuff. Vinyl release through Genjing and Tenzenmen, or you can stream it on Bandcamp.
Elixir is certainly the most mature and cohesive Totems release to date, with nine tracks that flow seamlessly from start to finish. Jungle/drum & bass/echoes of his old trap sound that are equally suited to both chilling and raving. Released in December with Cosmic Compositions, Elixir has already had several plays at Kiwese HQ, also known as my lounge. Chur chur!
With only one kiwi member, UMO are arguably not even a NZ act. But they get nominated at the NZ Music Awards and also get funding from NZ On Air so whatever. Multi-Love is the follow up to 2013’s II and it is just really fcking awesome!! More groovy and melodic than their previous two albums, with the addition of a keyboardist/back up vocalist.
Favourite Song 2015: Can’t Keep Checking My Phone
…Where it at?
Mirror in Mirror by Skip Skip Ben Ben
(Taipei / Beijing)
Ben Ben’s new album has been released in Taiwan on Re:Public Records, and I’m eagerly/impatiently waiting for it to come out in the Mainland on Maybe Mars… Check out the preview below. NEED.
Many of these artists have released their music on Bandcamp for the criminally low price of ZERO DOLLARS. Koha where you can! Support independent music!
What makes a ‘good show’? The artist? The venue? The crowd? Here is a list of ten shows in chronological order that left an impression on Kiwese this year.
“Music, in performance, is a type of sculpture. The air in the performance is sculpted into something.” – Frank Zappa
To me, live music is a symbiotic relationship between performer and audience, they need each other to exist. There is an unfiltered bond between the artist and the crowd at every show, an unrepeatable experience in time and space. The shows I tend to enjoy most are the ones where the crowd is engaging somehow with the performers, whether through dancing or cheering or stage invading – letting the performers know they are not alone.
With the increase of computers in music production today, old expectations of live music have shifted to accommodate these new digital elements. While some critics believe computers detract from a live show, artists are creating and embracing interesting new ways to perform with digital technology. In China, going out to a gig in 2015 no longer means bass-drums-guitar, but rather something that echoes the digital world we live in.
South Acid MiMi Dance Team @MAO Livehouse Kunming 南方酸性咪咪领舞队在昆明MAO Livehouse
I stumbled into a South Acid MiMi show in Kunming in January and never looked back. Officially indoctrinated into the girl cult of face masks, weird music, freaky dancing and lots of whiskey. Very stoked to have been able to collaborate with them and Lady Lazer Light in October. This early MiMi show was filled with lots of experimental instruments and props, which have since been refined into three keyboards, a laptop and percussion.
Weilin + Shishi
2015.04.17 Noise Temple @ Little Bar Chengdu 黄金＋绵羊在小酒馆
Noise Temple is hypnotic, digital, dark – the syncing together of VJ Mian’s visual projections and Huang Jin’s razor sharp drumming abilities makes for a unique pulsating of the senses. This show featured contemporary dancers (thought I’d see pigs fly at Little Bar first) and vocal/instrumental cameos from various musicians. Unfortunately, Huang Jin has since moved to Beijing to join Re-TROS so Noise Temple no longer play with the blessed regularity we had gotten used to in Chengdu.
Video below is from another show at Morning Bar in April.
2015.04.25 Aus-atmen @ Xiwo, Chengdu Luna, Cvalda, Hiroshi, Xiang, Su
New techno/minimal/ambient music label Atmen had their debut party in an empty swimming pool in the leafy outskirts of Flower Town. Featuring Cvalda, Hiroshi, Xiang and Su, playing to the early morning. Enough said.
2015.06.26 – 2015.06.28 Neverland Electro Music Festival @ Wulong Fairy Mountain, Chongqing
山谷露营电子音乐节 仙女山 武隆 重庆
Two days, two nights, two stages – Neverland 2015 returned to the misty mountains outside of Chongqing, following their first festival in 2013. Neverland is a collaboration between NUTS and Morning Bar, attracting fans and friends from Chengdu, Chongqing and surrounding regions such as Guizhou. Camping festivals are few and far between in China, and Neverland beautifully fills the need.
The location is sublime – rolling green hills, white flowing mist and cloudless skies. The main stage saw DJs from around the region bring everything from swing to techno, while the psytrance community stayed entranced with their own 24/7 party at the stage on the flat. A very low key and awesome festival, with only a couple of hundred punters and no security. Amped for next year!
2015.07.03 Hiperson @ Little Bar Space Chengdu
When Hiperson set out to tour ‘No Need For Another History’ 《我不要别的历史》, they returned as a different band. Several hundred friends and fans turned up to the new big Little Bar (the new/old/big Little Bar thing is gonna get confusing) to welcome them home, and they sure as hell delivered. Kiwese became the first person to ever stage dive at a Hiperson show – life achievement unlocked.
Chen Sijiang, who’d shaved all her hair off in Shenzhen, completely commanded the stage with guitarists Ji Yinan and Liu Zetong thrashing about in the wings and Tao Ge bopping with conviction on bass. When the band went silent for Sijiang’s monologue and the spotlight lit her shaved head and wide-open eyes, you could hear a pin drop as the entire crowd sat in the palm of her hand. A mighty performance from one of Chengdu’s favourite bands.
2015.08.01 Stolen ‘Loop’ Album Release Show @ U37 w/ Dead J and Noise Temple 秘密行动《循环》专辑首发演出
Chengdu turned out in droves for Stolen’s album release show at an empty warehouse in U37. Perhaps some of us were a little TOO excited – I almost broke my ankle in the mosh pit and had to be carried husband-bride style to a taxi by my flatmate. Nevertheless, an epic show from a band that has become one of the most talked about acts in China this year. That synth-bass break in A Glossy Flirt has become my official pogo beer shower anthem.
Managed to catch Stolen on tour in Guangzhou and Beijing as well, but the energy at this album release home show was unparalleled.
2015.09.18 Shocking Pinks @ School Bar Beijing
Kiwese caught an overnight train from Chengdu to catch Shocking Pinks first show in China at the notorious School Bar in Beijing. The formula of Ash Smith (bass) and Cory Champion (drums) that was concocted last year at Puppies is still solid, as Nick Harte led them through a selection of songs from his previous albums to a responsive and dance-ready crowd. Check out the interview at live performance of ‘Smoke Screen’ in the video below.
2015.09.29 – 2015.10.11 Orchestra of Spheres + Lady Lazer Light China Tour
Dreams do come true! This year Orchestra of Spheres (Xīngjī Yuètuán) came to China, YEAH HARD! In a twist of seriously awesome timing, their hometown partner-in-crime Lady Lazer Light was in Beijing on an art residency and brought her cosmic visions on tour! Crowds in Beijing, Chengdu, Chongqing, Kunming, Dali, Shenzhen, Guangzhou and Wuhan were given their first taste of OOS magic.
In addition to OOS, special side-shows included Cave Circles + Globular Synthesis at Brothers BBQ in Feijiacun, The Niubis in Chongqing and a Cave Circles + Su live techno set at Morning Bar Chengdu.
Big love to Baba Rossa, Mos Ioccos, EtonalE, Woild Boin and Lady Lazer Light putting their faith in Kiwese and being incredibly rad people.
Photo by Will Griffith.
Poster by Hannah Salmon.
Photo by Will Griffith.
Photo from Full Label Guangzhou.
Photo by American Apparel.
2015.12.17 múm @ Little Bar Space Chengdu
A band that uses cello and melodica – I was prepared to hate this. Pronounced miooyyuujm, Icelandic atmospheric-music-to-have-sex-to band múm gave us a spiritual show of delicate vocal harmonies and careful layering of instruments, alongside slow panning lights and dramatic hisses of fog – the singer’s pixie sigh of ‘xie xie‘ the only thing that would break the audience out of their sonic incantations. At times I felt like I was sinking into the ground, no one was moving. My favourite part was when the singer started to theatrically rip her own head off – see video below.
2015.12.18 – 2015.12.19 Ein-atmen @ Chengdu Air Raid Shelter 在成都金里西路放空
And finally, to round off the year, the crew from Atmen and Morning Bar hosted a two-night techno party in an air raid bunker in downtown Chengdu. Music wise – the first night featured Tanzman, Su, Ewan and Haozi and the second night continued with Xiaolong, Xiang and Hiroshi. Visual artists projected their works throughout the shelter all weekend. The air raid shelter is like nothing I’ve seen before – long corridors of old concrete rooms and rusty steel fittings.
With Chengdu undergoing so much construction and change, it was beautiful to be part of something so fresh and innovative in the underground chasms of the city. This is what it is all about – people coming together to build events in new spaces.
Read the Zaomengshe interview with Su and Xiang here.
Want to find out about events before they happen? Many of these events sold pre-sale tickets on Zaomengshe, download the app to keep in the loop! www.zaomengshe.com