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Girl’s Girl’s World



In October 2017, Shanghai-based musician Shu Ying released her first full-length album Girl’s Girl’s World to critical acclaim—the ten-track record quickly making noise across China’s independent music scene. Formerly a keyboardist with the post-punk outfit Undress for Success and founding member of the electronic dance band Quadruple Cherry, Shu now inhabits her own radiantly untamed melodies amidst the loud, discordant, confused noise of twenty-first century Shanghai. A multitalented singer-songwriter who sings and writes both in Chinese and English, she also works as a digital content marketer and runs the Chinese-Dutch indie music label Waving Cat Records.

2017年10月,上海音乐人树樱发行首张个人全长专辑《Girl’s Girl’s World》,获得一致好评。这张共含十首曲目的专辑迅速在中国独立音乐界掀起波澜。树樱曾担任后朋克乐队 Undress For Success 的键盘手,也是电子舞蹈乐队四重樱(Quadruple Cherry)的创始成员之一。现在,树樱来到上海,在二十一世纪充满喧闹、混乱的上海音乐界中,创作着自己那无所拘束的独特旋律。她是一位多才多艺的创作歌手,用中文和英文演唱和写作,同时还是一名数字内容营销家,负责管理中荷独立音乐品牌 Waving Cat Records

Listen to some of our favorite tracks from Shu Ying below / 点击即可试听树樱的几首歌曲

There’s a chameleon-like quality to her music, undoubtedly due to her diverse personal background. Of mixed Han and Kazakh descent, she spent her early years moving between Shaoxing, Urumqi, and Stockholm, and such youthful experiences proved formative for her music. “I remember taking a 60-hour train with my family to Urumqi as a kid. I encountered stories and different types of people when I was small and didn’t feel uncomfortable with it. Music is diverse—mixing cultures enables me to see things from a different angle.” Girl’s Girl’s World exemplifies Shu’s globally minded approach to music making: the Chinese singer’s album was recorded in the Netherlands and produced by Israeli Idan Altman.

多元的文化背景,使得她的音乐像变色龙一般变化多端。她是一名汉族和哈萨克族混血,从小在绍兴、乌鲁木齐和斯德哥尔摩三地生活,年轻时的经历塑造着她的音乐风格。“我记得小时候我和家人一起坐了 60 小时的火车去乌鲁木齐。那时候我遇见各式各样的人,听到各种故事,但从来不会觉得奇怪。音乐是多元化的,融合不同的文化能让我从不同的角度看待事物。”《Girl’s Girl’s World》体现了树樱音乐创作的全球性:这是一张中国歌手的专辑,在荷兰录制,并由以色列裔制作人 Idan Altman 操刀完成。

Despite its international imprint, Shu’s music bears faint echoes of the nightclubs and streets of Shanghai, or at least the beautiful chaos of the city’s recent past. Like most dynamic cities, Shanghai is a city in flux, its kaleidoscopic cultural landscape muted by ever-increasing levels of conspicuous consumption. “I used to go from club to club and street to street because I didn’t want to miss out on anything, but now Shanghai is a bit overwhelming, because of the pace of construction and consumerism,” she says. In a sense, her music has come to be defined less by place than by emotions and experiences: “I guess the emotion I get from my experiences is the most important part of my musical equation.”

尽管树樱的音乐充满全球性,但隐约之间仍然透露出道地上海街道和夜生活的气息。或者说,她的音乐映射出了这座城市近来共存的美丽与混乱。和大多数充满活力的城市一样,上海是一座变幻无穷的城市,万花筒般的文化景观却因为不断增加的炫耀性消费,变得无声无息。“我以前常常到各家夜店,逛遍所有街道,只为了不想错过任何东西。但是快速的城市建设和消费主义的快节奏,让人觉得上海似乎有点失控了。” 她说。从某种意义上说,与其以地理位置来理解她的音乐,不如从情感和体验来定义她的音乐,“在我看来,我从体验中获得的情感,是我音乐创作中最重要的部分。”

From its title to the female characters behind the lyrics, Girl’s Girl’s World is also a female-driven record. Many of the songs are sung from a woman’s perspective and drawn from the experiences of Shu’s female friends. Many of her influences are also female vocalists. Tracks such as “Brought by a Haze” and “Never Want That Talk Ever Again” (from her 2015 EP Are You Still A Teenager?) evoke the visceral grittiness of PJ Harvey, while “Leaving the City” contains the electro-pop DNA of late 1990s Madonna.

In a male-dominated society, it can be especially difficult to find your voice and have it heard. “We don’t have a mature, healthy music industry in China, despite the fact that numbers of streaming music users and concert goers are growing rapidly.” Undeterred by these challenges, she persists in search of that elusive and unique sound: “You have to be totally independent, mentally and physically strong to be a misfit.”

从标题到歌词背后的女性角色,《Girl’s Girl’s World》是一张饱受女性影响的专辑。当中许多曲目都是从女性的视角出发,创作灵感大多来自树樱身边女性朋友的经历。她的音乐创作也受到了许多女歌手的影响,譬如,在她2015年的EP《你还是青少年吗?》(Are You Still A Teenager? )中有两首歌《Brought by a Haze》和《Never Want That Talk Ever Again》就回响着英国女子另类摇滚 PJ Harvey 那种坚韧的精神;而《Leaving the City》(离开这座城市)则指向了90年代末麦当娜代表的电子流行乐。

在男性主导的社会中,作为一名女性,要找到你自己的声音,并让人们听到你的声音,不是一件容易的事情。“在中国,虽然音乐串流媒体用户和会去现场看表演的观众,两者数量都在快速增长,但这还不是一个成熟、健康的音乐产业。” 树樱无惧于这些挑战,坚持寻找自己那难以捉摸的独特声音,“想要成为非主流,你必须完全独立,在精神和身体方面都要很强大。” 她说。

Incidentally, it was painting, and not music, that provided the first studio experiences. She studied traditional Chinese painting and oil painting in primary school, and later developed an interest in the shapes and costumes of Japanese animation. Her training in visual art is reflected in her lush sonic landscapes: “Music has as many aspects as there are colors in the world—intense, destructive, endearing, passionate.” In fact, the two—painting and music—are linked for Shu in a synesthetic way: “Music is flavorless without the imaginative stretch of colors.”

值得一提的是,她成立的第一间工作室并不是因为音乐,而是绘画。小学的时候,她学习中国传统绘画和油画,后来开始对日本动画中的设计与和服装产生兴趣。她在视觉艺术方面的训练反映在她丰富的音乐中。“音乐有着与颜色一样多彩的方面,可以激烈、可以震撼、可以惹人怜爱,也可以充满激情。” 事实上,绘画和音乐对树樱来说是相互连结的,“没有了充满色彩的想象,音乐也会索然无味。”

If her eclectic list of musical influences is any indication, Shu Ying’s new album, slated to be released later this year, carries high expectations. Her current playlist includes stalwarts such as Syd Barrett, Neu!, The Kills, and The Jesus and Mary Chain, as well as her recent obsession: garage and punk bands from San Francisco and Los Angeles such as Ty Segall, Thee Oh Sees, Fidlar, and Mystic Braves.

With songs full of attitude and vulnerability, disclosure and distance, Shu Ying’s music is an exciting presence on the Chinese indie music scene. Longevity almost seems beside the point. As she sings in “To Know Less,” the final track of the EP Are You A Teenager?, “Without short moments of clinking glasses / There won’t be everlasting memories.” Cheers to that.

各种多样的风格都影响、进而形塑了她的音乐,大家对她在今年即将发行的新专辑也寄予厚望。最近她常听的音乐有 Syd Barrett、Neu!、The Kills、The Jesus and Mary Chain,除此之外,她还迷上了旧金山和洛杉矶的车库和朋克乐队,如 Ty Segall、Thee Oh Sees、Fidlar 和 Mystic Braves。

树樱的音乐充满态度和脆弱性,既袒露赤裸却又保持距离,是中国独立音乐界中令人期待的力量。至于自己的音乐生涯能走多久,对她而言,这一点无关紧要。正如她在《你还是青少年吗?》EP 的最后一首歌《To Know Less》中所唱:“Without short moments of clinking glasses / There won’t be everlasting memories.”(没有玻璃叮当作响的瞬间,就不会有值得永驻的记忆。)真是说得太棒了!

Bandcamp: shuying.bandcamp.com


Contributor: Brian Haman
Videographer: Anaïs Siab, Damien Louise
Photographer: David Yen

Bandcamp: shuying.bandcamp.com


供稿人: Brian Haman
视频摄影师: Anaïs Siab, Damien Louise
图片摄影师: David Yen

Ethereal Tones



“Sheep’s Shadow,” a music video by Chui Wan, the Beijing-based experimental psych-rock group, features watercolor animation by Tu Qian, a talented Chinese artist who we’ve featured in the past. The article, “Watercolor in Motion,” was what first brought Tu’s work to the group’s attention. “They saw the story and really liked my style,” says Tu. “One of the band members, Yu Long, got in touch with me. A lot of my friends are fans of Chui Wan, so I was really excited to hear from them.” The track comes from their latest album, The Landscape the Tropics Never Had, which was released last year.

《羊的影子》是来自北京的四人实验迷幻摇滚乐队吹万的最新专辑《热带从未有过的风景》之中的一首单曲,MV 由艺术家涂迁以水彩定格动画的方式逐格绘制。而我们两年前对涂迁的一篇专访文章《Watercolor in Motion》间接促成了这次合作。涂迁告诉我们,“乐队的玉龙通过报道联系到了我。我的几个朋友都很迷吹万,所以收到邮件的时候还是很得意的。”

The Landscape the Tropics Never Had contains six long tracks, each lasting around seven minutes. Chui Wan’s poetic, psychedelic sound, neither rushed nor slow, leaves plenty of room for the listener’s imagination, while Tu’s watercolor GIFs can quickly set a mood. The artists’ shared creative outlook made this collaboration go especially smoothly. With its ethereal vocals and soft, overlapping colors, the video draws the viewer into a rain-streaked dreamland.

《热带从未有过的风景》里有六首时长超常的歌,平均长度在7分钟左右,他们的歌不紧不慢,带有诗意的迷幻音调为听众保留出足够的想象空间。而涂迁擅长创作的水彩 GIF 动画,也同样是以意境取胜。带给观众相同的从容感。这样创作上的共通之处,似乎也让这次合作来的更加顺畅。MV 中错落重叠的柔和色彩,加上歌曲中飘渺的人声,将观众轻轻一推,推进吹万的雨夜梦境中。

As you’d imagine for such unconventional artists, the collaboration was very free. Chui Wan hardly gave Tu any limitations—they just sent some images from a tour as inspiration. “Balloons become birds, clouds turn into girls, grays gradually shade into bright red-orange, and then into a deep-sea blue,” he says, describing the video. “The tabletop horizon gives way to vertical elevator doors, and the sea’s calm surface is the boundary between the horizontal and the vertical. I want to be clear in the mood and narrative rhythm, but not too clear. I think that pretty much sums it up.”

关于 MV 的绘制过程,如我们想象的一样,这样空灵的两位(组)艺术家的合作,应当无比自由的。吹万对涂迁的视觉呈现基本没什么限制,只发来一些乐队巡演时的画面作启发。涂迁告诉我们:“比如变成鸟的气球到幻化成女孩的羊,渐近的灰转向赤热的橘再到深海一般的蓝,横向的桌面水平线到纵向的电梯大门,平静的海面是横竖空间的间隙。不论是叙事节奏还是歌词意境,我很想把事情说清楚,又怕说的太清楚,就这样随随意意交待一下我觉得就差不多了。”

Cargocollective: ~/tuqian
: 12amto12pm.tumblr.com
: @chuiwan_
Bandcamp: chui-wan.bandcamp.com
Facebook: ~/chuiwanband


Contributor: Ye Zi

Cargocollective: ~/tuqian
Tumblr: 12amto12pm.tumblr.com
: @chuiwan_
Bandcamp: chui-wan.bandcamp.com
脸书: ~/chuiwanband


供稿人: Ye Zi

The Story of OAG



OAG, which stands for Old Automatic Garbage, was formed on Christmas Day in 1992 and was one of the first English-language alternative rock bands to enjoy mainstream success in Malaysia. They first came from the underground music scene and were initially influenced by seminal 60’s rock bands such as The Velvet Underground, The Beatles, and Pink Floyd.

OAG 全称 Old Automatic Garbage,是一支在 1992 年圣诞节成立的乐队,也是马来西亚第一批成功进入主流市场的英语另类摇滚乐队之一。他们一开始活跃于地下音乐界,而上世纪六十年代的摇滚乐队,比如地下丝绒乐队(The Velvet Underground)、披头士(The Beatles)和 Pink Floyd 这些乐队,则给予了他们音乐创作的最初影响。

The band’s big break came when they signed to Positive Tone and released their debut album, Old Automatic Garbage, in December 1994. The album went far beyond anyone’s expectation at the time, eventually going triple platinum and helping spark off the alternative music scene in Malaysia. Their hit, “60’s TV,” has become one of the most recognizable alternative rock songs in Malaysia, and the song’s accompanying music video also helped signal a new creative direction for music videos in the country. The band would become well known by Malaysian audiences for their exciting live performances and catchy tunes.

1994 年 12 月,乐队与 Positive Tone 音乐制作公司签约,并发行首张专辑《Old Automatic Garbage》,迎来乐队生涯的重大转折点。这张专辑获得了超乎所有人预期的成功,最终销量高达三百万,同时也让另类摇滚在马来西亚流行起来。他们的热门曲目《60’s TV》已经成为马来西亚国内最知名的另类摇滚歌曲,这首歌的 MV 也为马来西亚音乐 MV 创作开启了新的方向。凭借精彩的现场表演以及琅琅上口的音乐,OAG 成为了马来西亚家喻户晓的名字。

The success of their first album was followed up by a critically acclaimed, dance-inspired EP, Melody Mocker, and the band was also enlisted to write and perform the theme song for the 1997 FIFA World Youth Championship. The two albums that later followed in 2002 and 2003 respectively, Opera Radhi-o Friendly and Satelit Inkwere recorded in their native Malay language as the band tried to attract a bigger Malay audience.

首张专辑大获成功后,乐队之后发行的舞曲风格 EP《Melody Mocker》也广受好评。随后,乐队获邀为 1997 年的国际足联世界青年足球锦标赛创作和演唱主题歌曲。在 2002 年和 2003 年,他们又分别发行了两张以母语马来语创作的专辑《Opera Radhi-o Friendly》和《Satelit Ink》,试图吸引更多马来西亚当地听众。

Since then, the band went through a few lineup changes and a couple hiatuses. Founder, lead vocalist, and guitarist Radhi Razali says that one of the challenges for rock music in Malaysia is that people still underrate rock bands at times. Radhi tells us, “The music industry in Malaysia is very diverse and [the music is] getting weirder, bigger, bolder, crazier. There’s a lot of new experimental stuff coming in by the young newcomers, but rock is still always here. Rock is tough. Rock will never die in Malaysia!”

此后,乐队又经历了一些成员变动和几次休整。乐队创始人、主唱和吉他手 Radhi Razali 认为,对于本土摇滚音乐来说,他们所面临的挑战,有时是源于摇滚乐队在马来西亚未曾受到重视的现实。Radhi 告诉我们:“我认为马来西亚的音乐产业非常多样化,并且变得越来越怪异、浩大、大胆……也变得更疯狂,现在的年轻人带来了很多全新的实验音乐,可摇滚乐还是屹立不倒。在马来西亚,摇滚乐是永垂不朽的!”

The band just celebrated their 25th anniversary last year and marked the occasion with a special concert in Kuala Lumpur at The Bee Publika, combining old and new members alike. The current generation of OAG is the fifth generation of the band, with Radhi Razali on vocals and guitar, Qi Razali on drums, Muhamad Nizam on guitar, Nazrin Zabidi on bass, and Izmer Khasbullah on keyboards. “I’m hoping it’s also gonna be the last generation of OAG because I’m getting old,” Radhi says, “I might look like a 16-year-old Jackie Chan, but I’m 39 years old already!”

在去年,乐队刚刚庆祝了他们成立 25 周年的纪念日,并在吉隆坡 The Bee Publika 举行了一场特别的音乐会,新老成员一起同台出演。目前 OAG 队员已经是乐队的第五代成员,包括主唱和吉他手 Radhi、鼓手 Qi Razali、吉他手Muhamad、贝斯手 Nazrin Zabidi 以及键盘手 Izmer Khasbullah 在内。“我希望我们这一代的 OAG 也是最后一代了,毕竟我年纪也大了。”Radhi 说,“我可能看起来还像 16 岁的成龙,但我已经 39 岁啦!”



Contributor, Photographer & Videographer: Leon Yan



供稿人,图片摄影师与视频摄影师: Leon Yan

“Falter” by Black Letters



Black Letters is a four-piece alternative rock band based out of Bangalore, India. Comprised of Sharath Narayan, Sarang Menon, Arjun Radhakrishnan, and Akash Chacko, the band harnesses a dreamlike sound that blends electronica and rock elements with wistful pop vocals. Their unique sound has led to the band to be hailed as one of the most promising talents in the Indian music scene. “Falter” is the debut single from their upcoming album released via Overfeed Records. The accompanying music video for “Falter,” directed by Pranav Bhasin and Ankur Vyas, tells a surreal story about two lovers caught between worlds.

Black Letters 是一个印度班加罗尔的另类摇滚乐队,由 Sharath Narayan, Sarang Menon, Arjun Radhakrishnan 和 Akash Chacko 四人组成。他们用梦幻般的音效,将电子和摇滚元素与流行金曲结合起来,为自己打造出印度最有前景的乐队声名。《Falter》作为他们的首张单曲,将由 Overfeed Records 唱片公司收录并发行于整张专辑中。歌曲的 MV 由 Pranav Bhasin 与 Ankur Vyas 执导,讲述了两个恋人在不同世界之间的离奇故事。

Take a listen below to “Landscaper,” the second single from their upcoming album.

Black Letters – Landscaper


Black Letters – Landscaper

Facebook: ~/blackletters
Instagram: @blackletters


Contributor: George Zhi Zhao

脸书: ~/blackletters
Instagram: @blackletters


供稿人: George Zhi Zhao

Tokyo Roller-zoku Gangs

Tokyo Roller-zoku Gangs is a portrait series from American photographer Denny Renshaw. Created in Tokyo across five weeks in 2013 and 2015, the series was shot in parks, parties, bars, and music venues around the city. Renshaw tells us more about the series and the history behind the Roller-zoku subculture below.

2013年和2015年期间,美国摄影师Denny Renshaw前往东京,用五个星期的时间在公园、派对、酒吧和音乐场所拍摄下人像作品系列《Tokyo Roller-zoku Gangs》(Roller-zoku 指上世纪五六十年代东京的摇滚文化)。下面Renshaw 给我们介绍了这一人像作品系列,并讲述这种日本摇滚亚文化现象背后的一些故事。

“Among Japan’s many fashion tribes, one of the less explored is the Roller-zoku. For over 30 years the Roller-zoku have been borrowing greaser styles, gathering together for loud rock-and-roll music, and sporting leather, denim, and big greased up pompadours. Foreigners often associate them with the group of Roller-zoku seen in Yoyogi Park every Sunday, but this tribe can be found all over Tokyo. The Roller-zoku have grown from the roots of both 50’s and 60’s rock and roll and rockabilly because Japanese record labels did not differentiate between these musical categories at the time of their introduction.”

“在日本的各种时尚圈子中,Roller-zoku是其中比较鲜为人知的群体。30多年来,这些日本摇滚人一直在借鉴街头混混的造型风格, 他们聚集在一起听吵闹的摇滚音乐, 穿上皮夹克、牛仔服,向上梳起复古的‘庞毕度头’(pompadours)。外国人一般会首先想到的是每周日出现在代代木公园的Roller-zoku, 但其实他们遍布了东京的各个角落。Roller-zoku源自于50年代和60年代的摇滚乐和洛卡比里(Rockabilly)音乐, 因为在当时,日本的唱片公司把这些音乐混为一谈。”

“Japan experienced the popularity of these early rock-and-roll styles as did much of the world at that time, but it was the revival in the late 70’s that brought the fashions still associated with the Roller-zoku. Japanese bands like the Cools and Carol were at the forefront of this musical revival and began associating themselves with leather jackets, greased back hair, and motorcycles.”

”和当时世界其他地方一样,早期摇滚风格在日本经历了备受追捧的热潮,但直到70年代的复兴时期,才出现这种摇滚音乐的标志性时装风格。正是Cools and Carol 和其他引领着这种音乐复兴浪潮的日本乐队, 让皮夹克、‘庞毕度头’和摩托车与这种音乐文化关联起来。

“Unlike many other fashion tribes, these greasers are often all ages from the young to the old. An interesting aspect of this tribe is some members’ predilection for dancing, which can be seen being practiced in Tokyo parks on weekends. Much like early hip-hop was associated with breakdancing, Roller-zoku have their own brand of dancing, incorporating classic rock-and-roll dancing as well as intricate footwork, acrobatics, and theatricality.”

”不同于许多其它时尚圈子, 这些梳着‘庞毕度头’的摇滚人中既有年轻人也有年长者。关于这个群体,一个有趣的地方是一些成员特别喜欢跳舞。周末的时候,你会在东京的公园看到他们练习跳舞。就像霹雳舞是早期嘻哈音乐的标志性舞蹈一样,Roller-zoku 也有自己的特色舞蹈,他们在传统的摇滚舞蹈基础上,加入了复杂的步法, 动作和戏剧元素。“

Website: dennyrenshaw.com
Instagram: @dennyrenshaw


Contributor: George Zhi Zhao
Images Courtesy of Denny Renshaw



供稿人: George Zhi Zhao
图片由Denny Renshaw提供




The term birdstriking is aviation jargon that describes the collisions between birds and aircraft in mid-flight. The collisions may be intentional or unintentional, and can sometimes cause damage to the aircraft. When Hefan, the guitarist, vocalist and one of the founding members of the Beijing rock band Birdstriking, first heard this term, he thought to himself, “How can a bird, an animal of just flesh and blood, damage a gigantic airplane that’s made of metal and steel? That is really pretty amazing.” Moving at 80 kilometers per hour, birds can actually generate 216,000 newtons of force on impact. After learning about this, Hefan gained a newfound respect for energy and life. He hopes that the band’s music can generate the same amount of energy, and make a similar kind of impact on listeners.

鸟撞这个词是一个航空的行话,讲的就是鸟撞飞机。这个撞可能是有意识也可能是无意识的,有时甚至能撞坏飞机。当吉他手和主唱,也是创始人之一的何凡,第一次听到这个词的时候,当时他就想,“血肉之躯的鸟怎么可能把钢铁飞机撞坏呢,这现象真是够牛逼的。” 鸟飞行的时速有80公里每小时梦产生21.6万牛顿的力量。何凡知道这事后,对生命的力量产生了新的敬畏。他希望鸟撞的音乐也带给听众同样的能量,冲撞进人们的内心。

Take a listen to some select tracks from Birdstriking below:

 Birdstriking – Yuntianming

 Birdstriking – Magpie

 Birdstriking – No More Rock and Roll


 鸟撞 – 云天明

 鸟撞 – 喜鹊

 鸟撞 – No More Rock and Roll

The band was formed in 2009, when Hefan met Wang Xinjiu, the band’s original drummer and now guitarist. Later, the original bassist Yang Fan joined the group, and the three of them became the first iteration of Birdstriking. With the addition of a few new band members and some shuffled roles, the group sounded even better and with a fuller, more layered sound. When they are crafting songs, they will often have clashing ideas, but for the group, this is all part of the fun. On the new album, there are the lyrics “Half-hearted conversations and sincere smiles / disagreements fade away in the rhythm”, which they say perfectly summarize the band’s state of mind. As for their style, is it grunge? garage? punk? psychedelic? Hefan likes to think of it as just being indie rock. For him and the rest of the band, it doesn’t matter what genre they are classified under. After all, isn’t enjoying the music the most important thing?

鸟撞在2009年成立,当何凡遇到了当时的鼓手现在的吉他手王欣九,后来贝斯手杨帆加入了乐队,三人成为鸟撞乐队最早的阵容。后来也加入了几名新团员以及一些人员变动,让这个乐队创作更丰富了,也更有层次了。大家在写歌的时候想法有更多的碰撞,也更好玩儿了。在新专辑里,有句歌词:“无心的对话和真心的微笑,所有的吵闹都消失在节奏里。” 完美地概括了鸟撞乐队的状态。至于他们的风格,是垃圾摇滚吗?车库摇滚?朋克摇滚?迷幻摇滚?何凡认为就是独立摇滚,无需在意风格,喜欢就好。

The new album, which will be released next year, was produced by Ricky Maymi, the guitarist for The Brian Johnstown Massacre. He was also the tour manager for the band’s 2015 North American tour. The decision to have him help them produce the album came very naturally. One day when they were on tour, Ricky asked the band, “Who’s producing your next album?”. The band just said, “We want you to produce it,” and he said okay. Whether it was in music or in everyday life, Ricky would give the band a lot of inspiration. On tour they would often just chat and joke around, so it was only natural to have him produce the album too.

明年会推出的新专辑,由Brian Johnstown Massacre的吉他手Ricky Maymi制作。他也是鸟撞2015北美巡演的巡演经历。决定让他来帮助鸟撞制作的新专辑是非常随性的。巡演中的一天Ricky问鸟撞:“你们下一张专辑谁制作?”鸟撞说:“我们想让你制作。”然后他说好的。无论是音乐还是日常生活,Ricky都给了乐队很多启发。巡演中大家也经常聊天和开开玩笑。这专辑让Ricky制作也是自然而然的事儿了。

Hefan says, “The new album is meant to be inspirational, and is dedicated to every young person who feels confident about the future. It’s like a promise to the future. All five of us in Birdstriking are around 25 years old. We all feel like kids who are entering the next stage of adulthood, and right now we are slowly conforming to societal expectations. During this time in our lives, it feels like we‘re just trying to express ourselves, but venting isn’t cathartic enough. To make actual changes to the world, there needs to be action. When a person is dreaming, no matter how good they feel about the dream, it won’t affect reality in the slightest bit. We need to wake up, get our blood flowing, and use our brain and our own two hands to turn our dreams into something real.”


Next year will be an important year for Birdstriking. The band’s new album will be released early in the year, and they’ll also be touring and attending lots of music festivals. They hope that more people outside of China will start to fall in love with Chinese bands. Bassist Zhou Nairen really wants to keep making more music that the group can be proud of, and hopes that Chinese rock will only get better over time. In recent years, many live houses in Beijing that have been around for a long time have ominously started to close. From watching gigs at these venues, to actually playing at them, there is a sense of emotional attachment for the band to these places. At the moment, it is unclear how this all will affect Beijing’s music scene in the future. Birdstriking just hope that more Chinese young people who love rock music can pick up an instrument and form bands of their own. This, for them, is the most important thing.

明年对鸟撞来说会是很重要的一年。乐队的新专辑会在明年发行,也会开始巡演和参加很多的音乐节。他们希望更多外国人会开始喜爱中国的乐队。贝斯手周乃仁也希望能够制作更多乐队可以引以为傲的音乐,希望中国摇滚可以走的更好。在最近的几年里,北京以前开了很久的live house都关门了。从最早看演出到后来自己演出,对北京这些大大小小的场地多少有些感情。鸟撞希望更多中国喜欢摇滚的年轻人,可以学一门乐器,组个自己的乐队。对他们来说,这就是最重要的事儿了。



Contributor, Photographer & Videographer: Leon Yan


供稿人,图片摄影师与视频摄影师: Leon Yan

Duck Fight Goose



The Shanghai-based experimental electronic music group Duck Fight Goose was formed in 2009 initially as a rock band, when Han Han approached 33 and Panda about starting a new band. At that time, their early music was influenced by neo-psychedelic rock, experimental music, and math rock. In 2013, a new drummer Jean Baptiste joined the group, replacing the original drummer Damen, who had moved to Austin, Texas. Soon after that, the band also started experimenting with synths, DAW software, and different ways of producing electronic music.

成立于2009年的鸭打鹅,是一支上海的实验电子音乐组合,始于韩涵找33与熊猫组建一支摇滚乐队。他们早期的风格深受新迷幻摇滚、实验音乐,以及电子摇滚的影响。2013,新鼓手Jean Baptiste加入乐队,以替代移居美国德州奥斯丁的原鼓手大门。随后不久,乐队也开始尝试合成器、DAW软件,以及不同的电子乐制作方式。

Take a listen below to a few new select tracks from Duck Fight Goose:

Duck Fight Goose – Indifferent

Duck Fight Goose – A Nation of Disillusion

Duck Fight Goose – Lucky Star


鸭打鹅 – 无差别

鸭打鹅 – 幻灭国度

鸭打鹅 – 幸运星

Seven years after forming, the group has just released their second full length album, named CLVB ZVKVNFT. The title comes from an actual nightclub in Zurich, Switzerland named Club Zukunft, that the group visited when they were on tour in Europe in 2014. Translated it means “club of the future” but inside the club, the décor is actually very 80s. Han Han explains, “The 80s were when contemporary electronic music, as we now know it, was born – but this decade for us still felt especially human and analog.” So for the group, the name was a good fit for the new record, in that it encapsulated the thinking behind their sound perfectly.

乐队成立七年之后,他们发行了第二张全长专辑《未来俱乐部》,又名《CLVB ZVKVNFT》。专辑名字来源于乐队2014年欧洲巡演时演出过的一间酒吧,这间酒吧位于瑞士苏黎世,叫做“Club Zukunft”,翻译过来的意思就是“未来俱乐部”。尽管有着一个这样的名字,但事实上,这个地方的内部装潢极具上世纪80年代的风格。韩涵解释道:“那80年代的时候呢,实际上是当代的电子乐的一个开端。但是呢,这个年代可能就是特别人性的一个年代。”所以,对于乐队来说,这个名字再适合这张新专辑不过,同时也高度概括了他们在音乐背后的思考。

Over the years, the group’s sound has evolved very dramatically to incorporate more experimental electronic sounds and textures. Drummer JB says, “it is very difficult to give a predefined style to our music. There is a lot of mixing of things that we are doing, and we have a lot of influences – so there isn’t a clear style.” Han Han tells us that overall they have two main influences: one is progressive electronic music (along the lines of Aphex Twin, Clark, or Venetian Snares), and the other is the type of rock music that the band has always played. For Panda, despite their many evolutions in style, there is still a kind of continuity in their discography, as they have always set out to be an experimental band from the very beginning.

多年以来,乐队不断融合新的实验电子音质和风格,曲风变化奇大。鼓手JB表示:“很难用一种既定的风格来描述我们的音乐。我们混合了太多我们正在探索的东西,而且我们也深受各方面影响,所以并没有一种明确的风格。”韩涵对我们说,总体上看,作用于乐队的有两大影响: 一个是现代电子乐 (这一派的代表人物有Aphex Twin、Clark,和 Venetian Snares),另一个就是乐队经常表演的那种摇滚乐。对于熊猫来说,虽说他们的曲风多经演变,但始终有一种连续性贯彻于他们的音乐专辑中,因为从乐队成立之初,他们就旨在打造一个实验型的乐队。

They like to describe the band’s style as trying to merge the human and analog, with a sound that was produced electronically with machines. The group doesn’t believe in producing music solely from computers or software, as it can easily end up sounding too precise and simple. Han Han says that the group hopes to merge the two styles, and in the process still “try to keep all the interesting and groovy elements”. As for future developments for DFG, the band would really like to see themselves evolve into more of a performance group with more experiential and visual elements incorporated into their live performances – and function less like a conventional band. For 33, it is always uncertain what the future may hold, but she feels that the current direction the band is embarking on is an exciting and interesting one. Duck Fight Goose’s new album CLVB ZVKVNFT is out now and available for download on iTunes.


: ~duckfightgoose
Facebook: ~duckfightgoose
: ~duckfightgoose


Contributor & Videographer: Leon Yan
Photographer: Banny Wang

iTunes: 《未来俱乐部》
: ~duckfightgoose
脸书: ~duckfightgoose
Bandcamp: ~duckfightgoose


供稿人与视频摄影师: Leon Yan
图片摄影师: Banny Wang

The Surf Coasters



The Surf Coasters were formed about two decades ago in early 1994, by guitarist Shigeo Naka with a small group of friends from his hometown in Yokosuka. It was around this time when Quentin Tarantino’s now classic Pulp Fiction was released with Dick Dale’s surf guitar rock classic “Misirlou” as its opening theme song. The film’s great success and popularity helped inspire a third wave of surf guitar rock in the U.S., and similarly in Japan, there was a revival of interest in surf rock. Fittingly named after a rollercoaster ride called the Surf Coaster in an amusement park in Yokosuka, the band has a wildly kinetic instrumental surf guitar sound that is bound to thrill listeners.


Take a listen below to a few select tracks from The Surf Coasters:

 The Surf Coasters – The Clash

 The Surf Coasters – Tsunami Struck

 The Surf Coasters – Jack the Ripper


 ザ・サーフコースターズ – The Clash

 ザ・サーフコースターズ – Tsunami Struck

 ザ・サーフコースターズ – Jack the Ripper

Looking for their big break, the band auditioned for a Japanese TV show called Ebisu-Onsen, in which contestants competed for a recording contract. Most of the acts were bland pop singers, making The Surf Coasters one of the crowd favorites with their unique brand of instrumental surf guitar rock. Yuzo Sasaki, the editor of New Eleki Dynamica, a Japanese magazine dedicated to instrumental surf music, remembers his delight on seeing a surf rock band shred through “Misirlou” on Japanese television.

大ブレークを目指すザ・サーフコースターズは、出場者がレコード契約をかけて競うテレビの音楽バラエティ番組『えびす温泉』のオーディションを受けました。刺激のないポップ歌手が大半の中、ザ・サーフコースターズはそのインストゥルメンタル・サーフミュージックのユニークな個性で異彩を放ち、聴衆のお気に入りバンドの一つとなったのです。インストゥルメンタル・サーフミュージックの専門誌『New Eleki Dynamica』の編集者、佐々木雄三氏は、『Misirlou』を速弾きするサーフロックバンドをテレビで観た喜びを覚えています。

Although the band finished second overall, this still led to a recording contract and their first album Surf Panic ’95. That year, the band even got the chance to perform with the “King of the Surf Guitar” himself, Dick Dale, on his first tour of Japan. So impressed was Dale by Naka’s guitar performances that he later dubbed him the “Prince of the Surf Guitar”. In more recent years, the band’s line-up has changed with Nobuhiro Kurita (aka “Zen Punk”) joining the band on bass and cozy joining on drums. This year, they will release a new record, their first in eight years!

ザ・サーフコースターズは結局総合2位に終わったものの、これがレコード契約と彼らのファーストアルバム『Surf Panic ’95』に繋がりました。その年、バンドは初の日本ツアー中であった「サーフギターのキング」ディック・デイル本人と共演する機会をも得ました。中シゲヲ氏のギター演奏に感動したデイルは、中氏を「サーフギターのプリンス」と名付けたのです。近年では、栗田伸広氏(またの名を『禅パンク』)をベースに、cozyこと伊藤こずえ氏をドラムスに迎え、バンドのラインナップが変わりました。今年、彼らは新譜をリリース予定で、実に8年ぶりのことです!

When asked what he loves most about the surf guitar sound, guitarist Shigeo Naka says that he “likes the ‘wetness’ of the guitar sound and the depth that you feel in the rhythm.” Dick Dale is an obvious influence on their guitar sound, but the band enjoys many other kinds of music outside of surf rock. Kurita really likes the music of Jaco Pastorius, the American jazz musician, for example, and says, “in terms of bass players, there are so many people that have a really unique sound, so I really get inspired by the ones that have something that stands out, be it in their dress sense or their sound – or both.” Drummer cozy recently got to see Brian Wilson when he came to Japan, “so right now I’m quite into the Beach Boys,” she admits.


The upcoming new record will be the first album with the new band members. Naka tells us, “I did wonder what kind of sound we would produce, but I feel like it’s quite a relaxed sound that we’ve been able to produce. We tried to keep the sound of the guitar clean, for instance, and to do things that we hadn’t been able to do on previous Surf Coaster albums.” The band admits that it can be a challenge to play their style of music in Japan as they are one of the country’s only very few surf guitar rock bands. “There are some young bands who play this music, but it hasn’t really become big yet, so I would like to see it continue to grow,” Naka says, “I would also like to do more events, with some friends too. In time, it would also be nice to do something in Japan with other bands from around the world.”


Facebook: ~/thesurfcoasters
Twitter: @thesurfcoasters
YouTube: The Surf Coasters


Contributor & Videographer: Leon Yan
Photographer: Banny Wang

Facebook: ~/thesurfcoasters
Twitter: @thesurfcoasters
YouTube: The Surf Coasters


寄稿者&ビデオ撮影: Leon Yan
カメラマン: Banny Wang




Rockabilly is an intense, rhythm-driven music style that mixes rock and roll with country music. Other influences on this genre of music include rhythm and blues, and western swing. Many have said that the name rockabilly literally comes from the term “rock and roll”, but was renamed to imply that it was played by hillbillies. It’s easy to see how this may have offended many artists at the time. However, the term rockabilly gained traction over the years and was here to stay.

Rockabilly節奏感強,曲風濃烈,這種音樂流派融合了搖滾和鄉村音樂,此外,它也有節奏布魯斯和西部搖擺樂的影子在其中。很多人戲稱,“rockabilly”這個名字就是來自“rock and roll”和“hillbilly”,意指這是鄉下人玩搖滾樂。不難想像這樣的說法有多容易冒犯到當時的藝術家。但這些年來,rockabilly這一叫法漸得人心,並得以保留下來。

In the 1950s, rockabilly music cultivated rebellion, sexuality, and freedom, which dramatically appealed to the youth of that decade. It galvanized a subcultural revolution against authoritative figures and empowered people through freedom of expression. This slamming rock and roll style was the first of its kind, and it set off a cultural reformation that still reverberates to this day.


The death of Elvis Presley, largely regarded as the godfather of rockabilly, sparked a rockabilly revival in the late 1970s. New generation bands like Stray Cats formed, and ripples of the rockabilly revival were felt as far as Asia. In Japan, the rockabilly scene was already thriving with the rockabilly boys that would congregate in Yoyogi Park. To some extent, the Harajuku fashion subcultures were also influenced by the rockabilly aesthetics.

貓王,這位被大多數人視為Rockabilly教父的傳奇人物,他的逝世在70年代後期重燃了Rockabilly之火。像Stray Cats這樣的新一代樂隊遂崛起,這場rockabilly的複興波及亞洲。在日本向來有著濃厚的rockabilly氛圍,在那裡,一群喜歡玩此類音樂的年輕人聚集在代代木公園。某種程度上,這也對原宿時尚亞文化產生了一定影響。

Felix, the guitarist and vocalist for Hong Kong-based band The Boogie Playboys, grew up listening to his parents’ records of Johnny Cash, Elvis Presley, Wanda Jackson and Bill Haley. Later, he was influenced by newer bands like Stray Cats, which ignited his passion for the rockabilly subculture. Along with his bandmates, he runs a rockabilly festival in Hong Kong. The intimate event allows for the fashion and music of this subculture to reach those who may otherwise never be exposed to it.

香港樂隊Boogie Playboys的吉他手和主唱Felix,從小就從他父母收藏的唱片中,聽著Johnny Cash、Elvis Presley、Wanda Jackson和Bill Haley的歌長大。之後又受Stray Cats等新樂隊的影響,他對rockabilly亞文化的熱情被點燃。 Felix和他的隊友們一起,在香港開辦了一個rockabilly音樂節。這個私人的活動讓這個亞文化中的音樂和時尚走向了更多不曾聽說過它的人群。

“When we play at venues around Hong Kong, we have found that people are dressing up more and more. The girls wear the iconic pin-up style and we boogie all night,” says Barry Tam, drummer for the Boogie Playboys. The carefree and liberal attitude of Hong Kongers can be seen at their live shows where all the attendees are openly embracing the rockabilly culture.

“在香港的演出中,我們發現人們已經越來越會裝扮了。女生們穿著標誌性的pin-up style,然後我們搖擺上一整夜,”Boogie Playboys的鼓手Barry Tam這麼說道。在他們的現場,觀眾全情投入到rockabilly文化的懷抱,香港人那種無憂輕鬆和自由的態度一展無餘。

Miss Cathy, a local Hong Kong musician, says, “There are not many places to go in Hong Kong where you can experience the rockabilly subculture. There are no diners or clubs that play our style of music. But I am quite a homebody anyways – I enjoy playing records at home and dancing with my husband and daughter.” The rockabilly subculture in Hong Kong remains fairly underground and low key. There aren’t any clubs that exclusively cater to this genre of music. Even though the perseverance of this group of musicians and close friends has already propelled the rockabilly subculture in Hong Kong forward by leaps and bounds, they’re still keen on spreading rockabilly music to even more people.

香港本土音樂人Miss Cathy說: “要體驗rockabilly這種亞文化的話,香港並沒有多少可以去的地方。根本沒有餐廳或者夜店會放我們這種風格的音樂。不過,反正我很宅——我享受在家播放唱片,和我先生、女兒一起跳舞。”rockabilly這種亞文化在香港還處於相當地下和低調的狀態。沒有夜店會專門播放這個流派的音樂。儘管,這群音樂人及其好友們的堅持不懈,已經推動了rockabilly這種亞文化在香港的突飛猛進,但是他們並不滿足於此,而是有意將這種音樂傳播給更多的人。

Contributor: Mireille Paul
Videographers: Mireille Paul, Andy Ngan

Photographer: Michael Chiu

供稿人: Mireille Paul
視頻攝影師: Mireille Paul, Andy Ngan
圖片攝影師: Michael Chiu

Future Orients



Future Orients is a new Chinese rock band from the Beijing label Maybe Mars, who’ve just finished recording their first album. Humbly self-described as just another ordinary four-man band, the group was born by chance when the four kindred spirits first met in a university dorm and discovered that they loved the same music. Their sound has been described as post-rock, post-punk, math rock, indie, and even dance – but guitarist Guo Zhen actually considers their sound to be more or less pop. Ultimately, he says, what they are aiming for is psychedelic disco, or just something with a beat that people could dance to.

Future Orients是一支中国的摇滚新乐队,隶属北京音乐厂牌Maybe Mars,新近完成了他们第一张专辑的录制。谦称自己只是一支普通四人乐队,他们的组合可谓诞生于大学寝室的偶然,几个同样热爱音乐的年轻人因为志趣相投走到了一起。外界常将他们的风格归为后摇、后朋、数学摇滚、独立音乐,甚至舞曲——但是吉他手果真认为他们的作品其实差不多就是流行乐。他说,最终他们的目标是要做迷幻的士高,或者只是可用来跳舞的音乐。

Take a listen to some select demo tracks from Future Orients:

Future Orients – Running (Demo)

Future Orients – Motto (Demo)

Future Orients – Idol (Demo)

以下为Future Orients新曲小样选集,欢迎试听:

Future Orients – Running (小样)

Future Orients – Motto (小样)

Future Orients – Idol (小样)

Their influences include Mogwai, PK14, DIIV, NEU!, Joy Division, Kraftwerk, and Pink Floyd, but the one band that they all seem to agree on is Foals, whose angular and methodically kinetic style of post-punk has clearly had a stylistic influence over the Future Orients’ sound. Lead singer and guitarist Yong, despite all of their rock influences, insists that the band know nothing about rock music and that that is not what the band makes. What Future Orients make is “sissy pop and middle-aged 70s disco music”, and what they are are just a pop group who like to write songs that are hard on the ears.

他们在音乐上受到Mogwai、PK14、DIIV、NEU!、Joy Division、Kraftwerk和Pink Floyd等乐队的影响,但所有成员一致认可的似乎是Foals。Foals后朋音乐中的生硬和有条不紊的跳跃在Future Orients的音乐中有着分明的风格影响。尽管受到来自这些摇滚乐队的相应,主唱兼吉他手阿勇坚持认为,自己的乐队对摇滚一无所知,并且它也不是乐队创作的内容。Future Orients创作的是“娘炮流行和中老年人迪斯科”,他们只是一支喜欢写难听歌曲的流行乐队。

We meet the band in their own basement studio under an apartment complex in West Beijing, where they rehearse all afternoon for an upcoming gig. Lead singer Yong tells us that, “Right now in China, things are pretty good. There are more festivals, gigs, and foreign musicians coming from abroad. It’s not a bad time to be in a band. People are taking copyright issues more seriously, and more money is being invested into the independent music scene. These are all good things.” The band admit that, despite just starting out in their short career, they haven’t really encountered too many challenges so far.

他们自己的工作室位于北京西边一处公寓小区里的地下室里,他们在这里为一个即将到来的演出排练了一下午,我们也在这里碰面了。主唱阿勇告诉我们: “现在中国都挺好的。音乐节多了,演出多了,国外过气大牌来的多了,最近版权问题搬上了台面是个好事。独立音乐圈也开始有资金流入,也是好事。” 乐队坦言,尽管他们在这条职业道路上刚刚起步,却迄今还未遇到过太多挑战。

Guitarist Guo Zhen says “the independent music scene here is improving all the time, and there are more and more opportunities (for us) to perform. Also more good bands from overseas come here now to play gigs, but if anything, the whole music environment and local rock scene here is not stimulating enough. It’s not as competitive as it is abroad where there are just so many great bands making great music. I prefer to be more stimulated. Because there are far fewer top bands here, sometimes some really strange acts can play music festivals, which I don’t think is so good.” One thing that is worrisome for the band is how over the past two years in Beijing, many performances and gigs have been suddenly canceled, and there always seem to be some new censorship regulations.

吉他手果真说: “我觉得整个市场在变好,乐队演出机会多了,也能看到很多国外的好乐队演出。如果要说一个的话,就是可能整个环境的刺激还不够吧,在乐队作品方面竞争不像国外那么激烈,国外好乐队太多了,我喜欢那种刺刺激激的感觉。因为这里优秀的乐队数量太少,导致什么奇怪的乐队都能上音乐节演一演,这点很不刺激。“困扰着这个乐队的一件事,就是在北京过去的两年里,很多演出被取消,甚至有所谓下架歌曲名单这种事出现。

The band have only just finished recording their first album, which includes ten songs in total, and are now in the process of mixing it. Their goal was to record it quickly and to keep on making new music. For Guo Zhen, the band’s immediate goals are to keep on rehearsing, continue to explore their sound, and keep playing gigs until they have exhausted themselves. Yong says that the only thing that really matters to them is to make the best of today, after all nothing in the future exists. Perhaps a good description of this young band’s mindset can be found in the lyrics of one of their songs: “Sing with all your passion / put your hands up / let me embrace your dreams / let me see your real face / let’s smile, now we’re young / let’s look forward to a better tomorrow.” Maybe Mars plans to release Future Orients’ first album later this year.

乐队最近刚完成他们第一张专辑的录音,这张专辑包括了十首单曲,目前他们正忙于混音阶段。他们的目标是快速结束这张专辑的录制,从而可以开始新作品的创作。对于果真来说,乐队当务之急是继续排练,继续演出,继续摸索,直到把能量消耗完。阿勇说,对于他们来说,唯一重要的事就是踏踏实实干好今天的事,明天都是假的。或许,歌词里唱的就能很好地描述这个年轻乐队的状态: “唱出你的热情,伸出你的双手,让我拥抱着你的蒙,让我拥有你真心的面孔,让我们的笑容,充满着青春的骄傲,让我们期待着明天会更好……”



Contributor, Photographer & Videographer: Leon Yan


供稿人,图片摄影师与视频摄影师: Leon Yan