Chinese rock group. Nine Treasures - Chinese folk metal band

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Good evening. Today our flight for rock music will take place in China…

Rock music came to China in the 1980s and was actively developed under the influence of the US rock movement, as well as under the influence of traditional music China. The first current, called the Northwest Wind (1980s), gave rise to Chinese rock in general. The direction was set by two songs - "Xintianyu" and "Nothing for the Soul" (1984). The second track was performed by Cui Jian and mixed rock music with elements of traditional Chinese music. It is on this combination of genres rock music China is being built to this day.

Father Chinese rock Cui Jian

Birth, heyday and decline of Chinese rock (1984-1994). The song "Nothing for the Soul" by Cui Jian (1984) is, in fact, the birth of Chinese rock. In post-revolutionary China, this song brought a whole new spirit, combining individualism with direct and open self-expression. For younger generation it has become a symbol of disillusionment with the realities of Chinese society, a reflection of complex political and cultural processes. Older generation perceived the song, rather, as a symbol of the unfulfilled promises of the ruling regime. By the way, until 1990, Chinese rock artists did not release their songs, but gave concerts in “clubs”, this was due to the harsh ideological pressure of the current regime.

The gap between 1988 and 1993 was the heyday of the rock movement in China, and perhaps one of the most prominent bands of this time is Tang Dynasty, which is the first heavy metal band in China.

Chinese heavy metal band Tang Dynasty

1994 marked the decline of the rock movement, which was associated with the rigid framework of the communist party, which established censorship and restriction of rock, as it liberates youth and provides false guidance. But even during this difficult period, there were groups that either adapted to the frame and moved into the country-pop genre, or like Hae Yoon, who actively resisted those rules and performed music in the style of punk, ska, metal.

In fact, new round development of Chinese rock happened in 2003 at a joint concert Cui Jian with The Rolling Stones. This concert opened up Chinese rock to the whole world. From that moment on, post-punk rock music began to develop actively in China, as well as visual key and gothic rock styles began to gain fame and popularity. On this moment time, rock music in China is not the main, but developing direction.

Article prepared

Denis Boyarinov

The leader of the honored Chinese rock band P.K. 14 Yang Haisong Talks About How Hard It Was For The Rocker In Nanjing And What He Owes To Viktor Tsoi

Rock in China is called "yaogun" - yaogun, and it appeared not so long ago - in 1986, when the singer Cui Jian, local Bob Dylan and John Lennon in one person, performed famous song "There is nothing", which became the anthem of the student unrest of the late eighties. By the way, Cui Jian can also be called the Chinese Choi, because he is Korean by his father.

Honored Chinese group P.K. 14, which met in 1987, plays rock, similar to Russian and something indebted to Viktor Tsoi. Despite the fact that almost all young Chinese musicians switched to English, for the members of P.K. 14 The message is still important in the songs - lyrics that the leader and vocalist of the group Yang Haisong, in life similar to quiet teacher geography, shouting in Mandarin. For his generation, now in their 30s and 40s, rock was a faith they can't betray. Having met Jan Haysong during the Vladivostok Rocks festival, DENIS BOYARINOV recorded his story about the new album "1984" recorded by P.K. 14 with acclaimed sound producer Steve Albini, and about the past and present of the yaogong. Judging by his story, Chinese rock and Russian rock during its heyday in the 1980s have a lot in common.

The first wave of rock music emerged in Beijing and Shanghai in the early 1980s. Chinese bands began to appear, which were predominantly heavy metal. I started listening to Chinese rock around 1983 when I was 20 years old. I caught these bands on the radio. At the same time, cassettes began to appear on which Western groups recorded. Cassettes were cheap and you could find any kind of music on them. They passed from hand to hand. We have learned a lot from these cassettes.

When I started playing the guitar, I started playing sixties rock - hippie music, then moved on to punk - clash And Ramones. group P.K. 14 I founded to play only post-punk - in style Joy Division, Cure, Siouxsie and the Banshees And bauhaus.

My bandmate, bassist Ah Dong, moved to Nanjing in 1986 and started his own band there. Shit Dog- they played evil hardcore. P.K. 14 And Shit Dog were the biggest rock bands in Nanjing, although we were, of course, and still are in the underground. When A Dong's band broke up, we started playing together.

P.K. 14- "Behind All Ruptures"

The Chinese authorities have never welcomed rock music. In the 1980s, it existed on semi-legal terms. But for my generation, rock was like a religion. Rock music was an opportunity to find yourself in a different world, completely opposite to the one in which most Chinese live. Those who chose rock refused to live in the "normal" world. They sat all day, locked up at home, and played guitars. They ignored what teachers and parents told them. All my friends who listened to rock were out of work in their 20s and 30s. They couldn't get anywhere, and they didn't want to. They made money on a case by case basis. They lived starving. Saved up money for cassettes and CD. It was a difficult life.

When we started playing - in the late 1980s - there were no rock clubs in Nanjing. We played in random bars. They brought all the equipment themselves - instruments, amplifiers, speakers, absolutely everything. It was full DIY (do-it-yourself. - Ed.). There were such stories that we performed successfully and agreed with the owner to perform next Saturday. They came a week later, and he told us: no, I changed my mind, we don’t want any noise here. People don't buy beer because of your music. He lied to our faces. We said - well, turned around, loaded with equipment, and left to look for another bar. There were many such cases. We performed for free - we did not take money for entry. It was difficult for us - because in Nanjing the music scene is not as developed as in Beijing or Shanghai. We could not find a person who would become our promoter or director. In addition, Nanjing - Small town by Chinese standards, about 8 million people live there.

Those who chose rock refused to live in the "normal" world.

Now things in China with rock music have become much better. Much, much. Now in Beijing there are already about a dozen venues that specialize only in rock music: these are bars, clubs or halls. In 2004 P.K. 14 went on their first tour of China; we gave 21 concerts in different cities - the smallest, not even provincial capitals. In some cities, we were the first rock band to come on tour. Since then, we have already traveled four times with tours in China, and each time there are more and more cities in our schedule. Soon we will go on another tour with the new album "1984" - there are already 32 cities in it, some of which we have never been to before. The situation is improving - new sites are appearing, the people who deal with them are becoming more professional. Everything is developing, and very quickly.

We just wrote a letter to Steve Albini. Because we have long dreamed of being recorded by Albini. We are big fans of his bands Shellac And big black.

We recorded all our previous records with Swedish producer Henrik Oja, and this one is no exception - we brought it to perfection in Sweden. But we really wanted to go to Chicago and make our dream come true. We were supported by our label Maybe Mars, one of two Chinese rock labels, gave the budget. We wrote a letter, introduced ourselves, found out the prices - for your money this is about 50 thousand rubles for one day of the session. We agreed on a schedule - this was the most difficult. We signed up with Albini for 5 days. Prior to that, he wrote a solo album by Kim Deal from pixies. And then went on tour with Shellac. It was a blessing to work with one of the best sound engineers in the world.

We have something to say, something to sing and something to shout - and we want to be understood in our country.

In China, most groups, especially younger ones, prefer English. They can be understood international language for rock music. I write and sing lyrics in Mandarin. It's been that way from the start - and that's for us natural way. We have something to say, something to sing and something to shout - and we want to be understood in our country.

Besides what we sing on mother tongue, does not mean at all that we will not be understood by residents of other countries. For example, two of my favorite Russian performers are the Kino group and Vladimir Vysotsky, who sang in Russian. Maybe I don't understand everything they sing about, but I feel it very well.

Also, most Chinese rock bands have bad English, just terrible. They sing to Chinglish. About nothing. Sucks.

Many people in China think that we are playing politicized songs. But we don't sing songs critical of the Communist Party, we sing about what surrounds us, about everyday reality. For us, everything is politics.

One of our most famous songs, "This Red Bus", was inspired by the Kino group. My friend showed me the translation of the song "Electric train" - that the train takes me where I don't want to. I was incredibly delighted with this image - and wrote my song about the same.

Our new album is called "1984". Like a book by George Orwell - and already by the title you can understand what this album is about. Orwell painted a bleak picture of the future in his book, but for us in China, 1984 is the real deal.

Listen to albums of P.K. 14 can.

Top 5 New Chinese Rock Bands According to Yang Haisong

wangwen
Building from Dalian.

8 Eye Spy
No wave from Nanjing.

Carsick Cars
Noise rock from Beijing.

From the history of the development of Chinese music

Back in the 1st century BC. e. in China, more than 80 types of national musical instruments. Gradually, the main types of traditional music were formed: songs, dance music, music of song tales, music of local operas and instrumental music.

The best examples of ancient classical music steel piece for qin (seven-string plucked instrument) "Guanglingsan", "Suite of 18 parts for hujia flute", a piece for pipa (four-string lute) "Circular Ambush", a piece for wind and string instruments « Moonlight and flowers on the spring river”, etc.

In 1919, European elements began to penetrate into Chinese music.. In 30 - 40 years. Chinese musicians write folk pieces, for example, the "March of the Volunteers" composed by the composer Nie Er to the words of Tian Han is now the national anthem of the People's Republic of China.

The appearance of the opera "The Gray-haired Girl" opened new era in the work and development of Chinese opera.

Festivals were regularly held"Shanghai Spring", "Guangzhou Music and Flower Festival", "Beijing Festival choral music”, “Northeast China Music Week”, “North China Music Week”, “Northwest China Music Week”, “ Music Festival Spring City” (Kunming), and others.

Since harmony, correctness and balance are very important for the Chinese.

Contemporary Chinese Music

Cui Jian is considered the "father" of Chinese rock..

Chinese rock is a mixture of traditional Chinese instruments with the drive of modern. As in many countries, rock came from the West.

Jazz and blues had an additional influence at the beginning of the 20th century.

The breakthrough came in the 80s with the appearance of metal (rock) Ozzy Osbourne, Rage Against the Machine, etc.

Its popularity grew more and more in the mainland, and played an important role during the 1989 Tiananmen protests. and the fight against government policies regarding censorship, sales and recording of discs.

On state-controlled radio stations, rock musicians were little liked.

Northwest Wind (1980s)

Chinese rock has its origins in the xibeifeng (northwest wind) that originated in mainland Chinese pop music. A new style was called by 2 songs "Xintianyou" and "I Have Nothing". . It was an amalgamation of a fast western rhythm, an aggressive bass line and strong drums.

Unlike soft cantopop (cantonese pop), these songs sounded like thunder. Many of the "Northwest Wind" songs were idealistic, strongly political parodies of revolutionary communist songs, such as "Nanniwan" and "The Internationale". They reflected the dissatisfaction of young people with the current situation in the country, and at the same time the growing influence of Western ideas of individualism and egocentrism.

Prison Songs (1988-1989)

"Prison songs" became popular in 1988 and early 1989, in parallel with the "Northwest wind" style.

This strange quirk comes from Chi Zhiqiang, who wrote poems about his time in prison and combined them with folk songs all in the same region. But unlike the previous style, prison songs were slow, tearful, negative examples as a model and often used vulgarism, expressing cynicism and despair.

Their non-conformist values ​​are seen in the songs "Mother is very stupid" and "Not a drop of butter on a plate."

The Birth of Chinese Rock (1984)

The birthplace of Chinese rock was in Beijing, since the capital was the most politicized and subject to foreign influence. Most in the 80s performed in small bars and hotels. Music was exclusively among university youth and bohemians.

In late 1989 and early 1990, Chinese rock became mainstream, incorporating prison songs and the northwest wind style.
In the spring of 1989, the song "I Have Nothing" became the de facto anthem of the student protests at Tiananmen Square.

In addition, in May and July of the same year, 3 well-known Chinese rock bands performed: Breathing (Huxi), Cobra, and Zang Tianshuo. The first rock bands included "Infallible" (Budaoweng) formed by Zang Tianshuo and Tang Dynasty (Tang Chao), vocalist and rhythm guitarist Ding Wu, and perhaps best known: "Black Panther" (Hei Bao), and originally Chinese alternative music leader Dou Wei.

Rise of Chinese rock (1990-1993)

After Tiananmen demonstrations, rock has become an integral part of the city youth culture . His departure from marginality occurred on February 17 and 18, 1990, when he held the longest concert in the largest concert hall in Beijing.

6 rock bands performed at it, among them the group Cui Jian And Tang Dynasty. The selection criterion was "originality and novelty".

Chinese rock peaked creativity and popularity between 1990 and 1993. Hundreds of rock bands appeared, many of them performing constantly. But since the state still deleted them from the events and did not show them on the central channels, most of the performances took place at underground parties.

Most rock musicians of this period characterize: long hair, black leather jackets, jeans, silver metallic patterns, and hippie insouciance. Rock had a huge impact on the intellectual stratum of the population.

But along with the gradual departure from the northwestern roots, there was a feeling of nostalgia and an understanding of how far he had gone. modern China away from traditional rural culture.

Sunset of Chinese Rock (1994)

Since 1994, Chinese rock has been in decline again. This is only partially due to the unchanging attitude of the government and the ban on rock music. There has been a general decline in interest in politicized songs and books.

People became more interested in the market economy, raising the standard of living. It can be noted that by 2005, this trend only intensified, the Chinese economy is booming, and the population is more interested in economic reforms than in political ones.

Chinese rock revival (2000–present)

In 2000-2004, post-punk and extreme metal appeared on the rock scene, Visual kei and gothic rock also gained some popularity.

In 2004-2005 group "Beijing's Joyside" held her first concert tour of the cities of China. They were accompanied on the trip by American director Kevin Fritz, who was filming his film Wasted Orient.

Today, rock music is found only in the heart of Beijing and has limited influence in society. The development of Chinese rock was different from Western rock, it never became mainstream. And its marginality rather points to fundamental cultural, political and social differences between the West and China.

Beijing Midi Music School and Midi Music Festival

Another important step in the development of Chinese rock was the Beijing School of Music"Midi".

Founded in 1993 by Zhang Fan, it has become the first educational institution in China offering training programs for jazz and rock performers.

Midi Contemporary Music Festival, first held in 1999, originally limited to the school, but over time has developed into China's largest rock festival. The festival is held annually, gathering up to 80 thousand spectators and more than 100 performers.

Chinese rock bands

1989 « 阿修羅 » ( a xiu lo, whale. "Asura") « 轮回 » ( lunhui, whale. "Again") "AK-47" anodized Baboo Black Box « 黑豹 » ( hei bao, whale. "Black Panther") « 腦濁 » ( nao jo, whale. "Brain Failure" Carsick Cars Cavesluts CLIMAX « 眼 镜蛇 » ( yanjingshe, whale. "Cobra") « 冷血 动物 » ( lenxue dongwu, whale. "Cold-blooded") « 冷酷仙境 » ( lenku xianjing, whale. "Cold Fairyland") « 子曰 » ( ziyue, whale. Confucius says... "Dzap Dau Dau" « 秋天的虫子 » ( qiutian de chongzi, whale. "Autumn Insects" « 花儿 乐队 » ( hua yuedui, whale. "Flowers") « 青蛙 乐队 » ( qingwa yuedui, whale. "Frogs") « 鲍家街 43号 » ( baojia ze 43 hao, whale. "Baojia Street, 43") « 简迷离 » ( jianmile, Gemini) « 挂在盒子上 » ( gua zai hezi shang, whale. "hold on to the box" « 幸福大街 » ( xingfu daijie, whale. "Happy Avenue" “…Huh!?” « 胡同拳 头 » ( Hutong Quantou, whale. "Fist of Hutong") « 无限音 » ( wu xian yin, whale. "Endless Sound") Joyside « 交工樂隊 » ( chiao gong yuedui, whale. "Labor Exchange Group")

« 左右 » ( zuo yu, whale. "Left and Right") "木马" ("MUMA") « 超 载 » ( chaozai, whale. "Overload") « 与非 门 » ( yufeimen, NAND) « 新 裤子 » «» ( xin kuzi, whale. "New Pants" « 盘古 "("Pangu", sometimes also PunkGod) Ping Pung PK14 "Proximity Butterfly" « 后海大 鲨鱼 » ( whale. "King Shark") « 反光 镜 » ( fanguangjing, whale. "Reflector") « 废墟 » ( feixu, whale. "Ruin") « 二手玫瑰 » ( earshaw meigui, whale. "Second Hand Rose") « 病蛹 » ( bingyun, whale. "Sick larvae") « 银色灰尘 » ( yinse huichen, whale. "Silver Ash" « 清醒 » ( qingxing, whale. "Sober") « 窒息 » ( zhi si, whale. "Suffocation") « 春秋 » ( chun qiu, whale. "Spring and Autumn") « 超 级市场 » ( chaoji shichan, whale. "Supermarket") « 唐朝 » ( tang chao, whale. "Tang Dynasty") « 麦田守望者 » ( maitian shouwanzhe, whale. "Catcher in the rye") "Total Maverick Decadence" (TMD) « 战斧 » ( zhanfu, whale. "Tomahawk") « 扭曲的机器 » ( niuqu de jiqi, whale. "Twisted Machine") « 什么 » ( shenme, whale. "What?") « 野孩子 » ( e haizi, whale. "Wild Children"

China is not only a country under heaven. For many, it remains unknown that Chinese rock and roll was also born there, absorbing the spirit of American culture. Having had enough of Western musical creations, in the East they took up modern (not without the inclusion of traditional Chinese) instruments and "hit rock in this hole."

Where does the wind blow from?

The phenomenon of "Chinese rock" originates in musical style"northwest wind". The forefathers of the genre movement were two compositions - Xintianyu (信天游) and Nothing for the Soul (一无所有). They combined traditional Chinese motives, seasoning them with the speed of the Western tempo, intensifying the rhythm and including aggressive bass lines.

The new movement quickly attracted attention with loud and assertive performances that contrasted strongly with the cantopop style that preceded it. Also, Chinese rock has become musical embodiment cult movement "search for roots".

The compositions of the "northwest wind" became a vivid reflection of the growing discontent among the youth at that time. The political overtones of the songs showed a Western ideology aimed at self-expression, which the modern generation aspired to.

Against the "northwest wind" in Chinese culture there is a new direction - "prison songs". The reason for the popularity of this trend was the accumulated fatigue from an overly official lifestyle and an ideological stage.

“Prison songs”, in contrast to the “northwest wind”, are characterized by more melodic and, to some extent, mournful compositions, saturated with cynicism and despair, in which the denial of one's social role is at the head of the theme.

The main listeners of Chinese rock, which combined "northeast winds" and "prison songs", were students and bohemian society.

The whole world opened this musical genre— Cui Jian, who spoke with The Rolling Stones in 2003.

back side medals.

The course of Chinese rock is not marked by pronounced shortcomings, because the genre, on the contrary, has become an anthem and the main inspirer of youth. Therefore, the main disadvantage can be called the extinction of this direction, which was significantly affected by censorship by the communist parties, as well as the restriction of performances and the ban on the transmission of such music on television.

The "cut off oxygen" to the genre was the impetus for a rapid return to the cantopop scene, to which many popular rock artists began to adapt in order to satisfy their needs for increased income and living standards.

Leading the genre.

Some of the most successful performers in the rock industry, who managed to hold out on the music scene until 2014 - brain failure. Their compositions contained an admixture of ska and punk, and the lyrics were written in English language to be able to express what the Chinese language is not subject to.

The real anthem of Chinese rock was the song - "Nothing for the Soul", which was performed by Cui Jian, due to which the musician gained wide popularity. The track became a "sip fresh air”for listeners, he managed to combine individualism with direct and open self-expression. Soon he also became a symbol of disappointment, which owned a generation of young intelligentsia with its shattered illusions. Cui Jian has often been called the "father" of the genre.

Tang Dynasty are an ethnic art rock and prog metal band often referred to as the first wave of heavy metal in China.

Listeners have repeatedly noted that the music of Tang Dynasty allows you to return to the ancient Chinese civilization. The group's work is dominated by a combination of progressive rock, art rock and traditional Chinese vocal techniques with lyrical poetry.

It is worth noting that the band very quickly received the title of the main representatives of heavy music. Their lightning-fast guitarist Liu Yijun, known as "Lao Wu", played a significant role in this achievement.

And finally Twisted machine- Beijing group, consisting of four people. The musicians were inspired by the work of Rage Against The Machine, so they gave themselves consonant name- Twisted Machine and began to position themselves as a hardcore band.

The team achieved great success in their homeland, after which the leader of the group, Wang Xiao, decided to leave the team for personal reasons. He was replaced by Liang Liang, who became the new "beacon" of the group and led Twisted Machine to a new style with features of nu metal and rapcore.

Finally, it is worth noting that China can be famous not only high mountains, but also high-quality and fully developed rock music, behind which thorny path to existence. Despite all attempts to “squeeze” this current and “cut off its oxygen”, today there are examples of teams that have not succumbed to the onslaught of their opponents.