all words: Joshua Wu
all photos: Chris Chen (from the Velvet Lounge show) and Sexy Fitsum (from the Govinda show)
The American media has spilled a lot of ink over the subject of underground rock music from China, so I won’t rehash the (the whole) story here. For some recent local articles take a look here and here.
To make a long story short, yes, China is still officially a Communist country, and yes, there are growing numbers of rockers, rappers, artists, and other talented youth in this quickly developing country of over a billion people. With a hyper consumerist culture, and a government that still censors lyrics and films, there is a ready made “man” to rebel against, and no doubt some of this drives the creativity of the musicians.
Enough with the history lesson, I’m sure you want to hear about the music: Maybe Mars is a Beijing based record label founded by two former New Yorkers, Michael Pettis and Charles Saliba. They’ve organized their first ever U.S. tour for some of their most talented artists, Xiao He and PK14.
From the Maybe Mars website:
Xiao He’s music reaches deep into the surreal folk traditions of a fast-disappearing China in much the same way Tom Waits immersed himself in the apocalyptic Christian mythologies of the American Deep South. With his combination of southern Chinese mysticism and Beijing gruff he has created a strange, stirring vision of a 19th-century China crashing violently into a 21st-century China of boiling rivers and crumbling factories. Xiao He has released many CDs over the years but continues to astonish audiences, including one recently at the Barbican in London, with his progressively eclectic sound that draws upon traditional instrumentation and vocal arrangements looped within his live performances.
Named one of five Asian bands to watch in 2008 by Time magazine, P.K.14 has been around for 10 years and are the wise veterans of the scene in Beijing. Critics haves described them as electro-infused, post-folk, post-punk social critics. Their sound has been compared to Sonic Youth, the Pixies and Talking Heads, while singer Yang Haisong, 34, says his lyrics are inspired by protest musicians like Woody Guthrie and Bob Dylan.
Xiao He and PK14 played a couple of shows in DC last weekend as part of their first U.S. tour. Friday night, they sold out the Velvet Lounge, and Saturday they packed the Govinda Gallery in conjunction with Matthew Niederhauser’s photographs of underground Chinese musicians. Local DC musicians came out to scope the Chinese artists, including Eric Hilton on Friday, and Ian Mackaye and family on Saturday. For PK14, this was a big deal, and having Ian Mackaye give the stamp of approval surely meant a lot to musicians from China that grew up with Dischord’s music. Imagine, if you will, back in the 80s for these kids to be listening to dusty tapes smuggled into China thousands of miles away from DC, and then finally one day actually meeting the guy behind it and even his whole family. Pretty surreal.
I spoke to Charles and PK14 on Friday before the Velvet show, and to Xiao He before the Saturday show, and also a bit with Matt the photographer. PLEASE NOTE: These are rough translations from Chinese to English.
Charles Saliba (Maybe Mars Record Label Co-Founder)
Welcome to DC, you look tired but juiced. What are your expectations for tonight and for the tour?
Thanks man. Great to be in DC. Our main goal is to introduce these Chinese bands to U.S. audiences, it is also the first time to the U.S. for these bands, so it is all a bit surreal for them. For musicians in China, America, and New York in particular, is still the center for music, so it is great to be here. We’ve had a great reception so far, and the college shows in particular have been great. Some exciting news, we just got into South by Southwest, and are excited to be back for that next year.
Can you describe the sound of the bands playing tonight to American audiences that may not be familiar with their music?
PK14 is straight rock, some may say punk rock. Actually, when you talk to them, they’ll tell you about some of their DC influences. They’ve been around for 10 years and have been a big influence on younger Chinese bands. Xiao He is more experimental, and incorporates elements of folk, electronic, and even some Mongolian elements, but is hard to describe. You’ll see.
PK14: Yang Haisong, Lead Singer
Tell us- how has the trip been so far?
So far so good, you know, it’s our first time to America. We’ve only seen America on TV, in films, and music. So it’s great to actually visit in person. As far as Washington, DC, the hardcore scene has been a strong influence on us: Fugazi, Minor Threat, and many of the other DC bands.
Jonathan Leijonhufvud (Drummer): It’s interesting that there are so many rules in America. In many ways, although certain subjects are limitied in China, on an individual level, there are in some ways more freedoms. (note: After the Saturday night show, we all went to eat and drink at Dukem, and Jonny almost didn’t make it in because he didn’t have his passport on him In China, the drinking age is not enforced, nor do clubs generally close until the last patron leaves.).
Jonny, what’s your story? You’re a white guy in a Chinese band.
Well, I’m Swedish but grew up in China. I’ve spent the last 14 years in China, and have only spent 4 years in Sweden my whole life. This is actually my first time to America. So in some ways, I’m more Chinese than Swedish.
What’s been the coolest part of your trip so far?
Yang: One of the coolest parts was earlier today. Ian MacKaye gave us a tour just a few hours ago of the Dischord House. He really took the time to show us around.
Awesome, that must have been great to meet and chat with one of your influences!
Indeed. It was also interesting to just hear how his music career and life has evolved.
How has the audience reception been?
It has been great so far. Before the trip, I was thinking, I don’t know if American audiences can understand anything we are saying, and it might be difficult for American audiences to accept Chinese bands singing in Chinese, but so far it has been great. Perhaps there may be a curiosity factor about Chinese bands.
If you could work with any American artists, who would they be?
In terms of production, we are fans of Steve Albini’s work, and Steve Shelley would be great to work with as well. And of course it would be great to work with Ian MacKaye and his record label mates.
Given the history of Chinese underground music, where do you think the next wave of Chinese music will come from, and do you think it will go global?
Well, for many years, young Chinese people were not really exposed to anything besides pop music, but now people are starting to experiment more, and there is more creativity surfacing. Finally with the internet and the influx of new ideas to China, there is now easy access to music and instruments from around the world. Before it was hard to even get records or guitars, now young Chinese kids can access it all. So I think there will be musicians across all genres from China. As far as going global, it is still quite difficult for us to get visas to come here, but there is definitely more interest in Chinese bands, and we are getting opportunities such as SXSW next year. However, I would say the scene is still very fragile.
Do you think Chinese musicians will reach back to traditional Chinese sounds for influence?
To some extent, this has already been done. Some pop music uses erhu (traditional Chinese string instrument). But it must be done well, and not just for a gimmick. We don’t see ourselves as a Chinese rock band, but maybe in their minds the audience sees us this way. We’d prefer to just be a good band.
How has your U.S. experience been?
It has been great, the U.S. has been better than I expected, cleaner, more orderly. Americans are smarter than I thought as well. Except at this point- I’m sick of hamburgers. Too much meat and cheese and bread.
Sick of hamburgers? Have you had Chinese food here?
Yes, we had some Hunan dishes at this place called Bao after last night’s show. It was pretty good, but not really the same as Chinese food in China.
How would you describe your music to U.S. audiences?
Experimental and improvised. I don’t think too much before I get on stage, and every set is different, so sometimes there are no guarantees. Some days my performances are good and others not so much. It’s like living without insurance. But my music is simple and easy to understand, as I don’t really use lyrics. Music is universal, and it is almost like meditation, and should include the heart and the mind. It takes time.
How does the audience affect your performances?
I feed off the audience. For example, yesterday at the Velvet show, I performed 2 folk songs with Chinese lyrics for the first time on the U.S. tour. I did this because I noticed quite a few Chinese people in the audience.
How about your travels? Does this influence your music?
I’m sure it does, but it is hard to describe. For instance, there are small things that I notice. In the U.S. people like to jog and run in the parks, whereas in China people like to practice taichi in the parks. But I can’t really describe how it influences me. Just things I observe.
What American artist would you like to work with?
Tom Waits, definitely Tom Waits. His music just speaks to me.
ch
Craving more:
SOUND KAPITAL, the exhibit of Matthew Niederhauser’s photographs of Beijing’s music underground, is still on show at Govinda Gallery. Get yourself there. Now.
