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      "body": "Ritual Day – Weak Light of Silence (2019)\nLegion Of Death Records [LOD 013]\n\n![](https://cdn.steemitimages.com/DQmZ8J2yyvbVhhNUpDBfj5YtY66T2uzfryT3qUN5sXctu1j/image.png)\n\nRitual Day – старейшая пекинская группа, играющая на стыке black metal и death metal. Постороннему человеку, конечно, различие между этими поджанрами определить сложно, так что вот вам кратчайший гайд: утробное УУУУУУУУУ под рычащие гитары - это death metal, а сдавленное ВЭЭЭЭЭЭ под менее низко настроенные гитары, играющие ТРРРРРРРР, - это, как вы поняли, black. Про темы песен я молчу, потому что понять тему песен можно лишь разобрав вокал. \n\nНа новом ЕР группы помимо гитар вы услышите пару китайских инструментов. Я не уверен, но кажется, во втором треке играет пипа (https://ru.wikipedia.org/wiki/Пипа_(музыкальный_инструмент)), а в третьем буквально пару секунд слышно завывание эрху (https://ru.wikipedia.org/wiki/Эрху). \n\nСудя по информации на bandcamp, этот релиз не то чтобы концептуальный, но довольно непростой: все три трека посвящены свету. Конечно, для более глубокого анализа текстов нужно разобрать, о чём поёт Nong Yong, фронтмен этого ВИА... А это практически невозможно, поэтому просто попытайтесь насладиться музыкой!\n\nhttps://ritualdaycn.bandcamp.com/album/2019-ep-weak-light-of-silence",
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      "body": "Sun Wei – Hospital (2018)\nself-released\n\n![](https://cdn.steemitimages.com/DQmYYsXY2to2qfgarfVRg1toHRPv4YZ5bfswty8YaSskpVi/image.png)\n\nSun Wei explores the sound environment. He's not a musician. Or at least not the kind you expect him to be. He's more like the sound voyeurist: the membrane of his microphone catches the chatting of people who are not aware they are being recorded, the noises of wind and cars, the coughs and sneezes... And sometimes it sound really creepy, because when we can't see, the imagination steps forward adding the details to what we hear: creaking, squeeking sounds with maybe a couple of sudden shrieks in the night. And the low rumbling noise adds the cinematographic touch to it. It sounds like some kind of horror movie. \n\nOn this album mister Sun recorded the sounds that surrounds the Hospital somewhere in Yinchuan. Just imagine him walking around the hospital with the mic in his hand. I don't know about you, but i'd shat my pants. It's reaaally spooky!\n\nhttps://sunwei.bandcamp.com/album/hospital",
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      "body": "Snapline – Shou Hua (2018)\nMaybe Mars [MM85]\n\n![](https://cdn.steemitimages.com/DQmSzgs8BE84kPgkMaJLQ4i4sgCBuCYc7yyxF9imzLNmEBh/image.png)\n\nI am not sure if it was intentional, but the first thing i got after googling the word \"shouhua\", was this one: \n\n手滑 \nshǒu huá \nto do sth by mistake (with one's hand) \nto make a slip of the hand (e.g. click the wrong button)\n\nThe real title of the album though is  獣化 (shòuhuà), which means \"animalize\". As you can see on the cover (bottom right corner). The writing style kinda looks like mine.  吴笛 (Wú Dí), Beijing artist, who made the cover art, earlier collaborated with the band for the covers of two singles from this album: \"TheAnswerS#3\" and \"Tent\". \n\nAs for the music you are about to hear, it sounds like Henry Rollins b-sides mixed with some side-projects of Blixa Bargeld mixed with something like... Klaxons. Yes, maybe it's hard to believe if you have listened to Snapline's music ever before, but here you can spot the chunks of disco-punk floating in the song textures. Sometimes Chen Xi starts to sing like it's the Bee Gees album all of a sudden. Can't say i don't like it though. And i hope you'd like it too.\n\nhttps://downloads.maybemars.org/album/shou-hua",
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      "body": "P.K.14 – What We Talk About When We Talk About His Name (2018)\nMaybe Mars [???]\n\n![](https://cdn.steemitimages.com/DQmVhjpFaM2CmqMfecTaWP3n4ruwyhF2AL5ijfbLxVzgRBS/image.png)\n\nДолгожданный альбом культовой китайской группы, на которую равняются почти все инди-проекты в Китае. Может, моё мнение немного предвзято, но я считаю, что это в каком-то смысле группа-первопроходец. Какой бы шаг они не сделали, маленький или большой, удачный или не очень, - за ними пойдёт целая вереница последователей. \n\nХотя песни для альбома были записаны уже год назад, выбор человека, достойного смикшировать полученный материал, занял почти год. В итоге группа совместно с продюсером Хенриком Оя (Henrik Oja) выбрала на эту роль Майкла Иллберта (Michael Ilbert), шведского продюсера, работавшего в числе прочих с The Leather Nun и Roxette. Как оказалось, длительный поиск был оправдан, потому что результат просто прекрасен.\n\nПесни на альбоме звучат более эпично, за неимением лучшего слова, по сравнению с предыдущей работой коллектива. Слушателя сразу погружают в мягкую и приятную атмосферу с плотным и не слишком резким звуком (как на 1984, где резкость и живость звука несомненно объясняется присутствием Стива Альбини в числе ответственных за звучание альбома). Тут и там возникают \"стены звука\", но они приходят и уходят, только лишь акцентируя отдельные моменты песен и помогая вам уютнее устроиться в центре этого музыкального безобразия.\n\nА затем вдруг начинается «Mystery Of Shadows» в котором мягкий обволакивающий звук сочетается с басовым грувом. И именно здесь также в полную силу вступает духовая секция, музыканты из Andromeda Mega Express Orchestra, работавшие с P.K.14 над записью этого альбома. Я не знаю, как описать то, что вы услышите, поэтому просто послушайте. \n\nПосле этого потрясений будет поменьше, но при этом ни одной плохой песни на релизе нет. У каждого трека есть своё собственное настроение, хотя и в рамках общего \"альбомного\". Кое-где начинается психодел, кое-где музыка напоминает что-то из раннего King Crimson... В общем, десять из десяти. \n\nПриятного прослушивания\n\nhttps://downloads.maybemars.org/album/what-we-talk-about-when-we-talk-about-his-name",
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      "body": "莫西子诗 – 月光白得很 (2018)\nStreetVoice [???]\n\nMoxizishi – проект 莫春林 (Mò Chūnlín). Я готов был поклясться, что уже выкладывал в паблике что-то из его творчества, однако, скорее всего это какие-то внушённые воспоминания. Кто их мне внушил? Зачем? Никто не знает. Тайна, достойная отдельного полицейского расследования.\n\nИнтересно также то, что почти все статьи о музыканте начинаются с упоминания его этнической принадлежности. Вот, мол, Mo Chunlin, представитель народности Yi. Полюбуйтесь-ка, почти денисовский человек, если шведские учёные не врут! Смотрите, он ещё и петь умеет! \n\nНо вот вопреки своему происхождению играет музыкант довольно-таки западную музыку, по сути своей. В ней прослеживаются какие-то отголоски экзотического мелодизма, но они не просто пересажены на европейскую музыкальную почву, а ещё и пострижены, побриты, модно одеты и готовы к продаже по всему миру. Инди-фолк, он и в Африке инди-фолк, даже если автор и поёт иногда на своём родном наречии или использует какие-то этнические инструменты.\n\nС другой стороны, музыку он играет приятную. Ту, которая способна заставить вашу бабушку на минуту сделать телевизор тише (информация не проверена ). Такая вот почти универсальная музыка. Это её большой плюс. Приятного прослушивания вам и вашим бабушкам!  \n![](https://cdn.steemitimages.com/DQmQYHHbCA9Egn9FbVDS8CageiTk7gXrqySuGCtsJy4419k/image.png)\nhttps://www.xiami.com/album/2103745454",
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      "body": "李晴/liq – 在这个小岛屿上我们能站多久 (2018)\nhttps://liqart.bandcamp.com/album/--2\nself-released\n\nPower noise от господина 李晴/liq (Lǐ Qíng) из Пекина. Музыка без особых изысков и претензий. Типичный представитель рода искажённых битов. Вряд ли я бы вообще решил это выложить, если бы у автора этой безыскусной танцевальной электроники для нонконформистов не обнаружился другой талант: рисование. Вот тут он хорош. Я в рисовании не слишком разбираюсь, но мне нравится такая шизофреническая мазня. Когда каждый элемент картины можно рассматривать долго, находя там всё новые детали. Взгляните сами: http://liqart.zcool.com.cn \n\nА пока вы разглядываете картинки, музыка на фоне не кажется такой уж второсортной*. Главное - не прислушиваться.\n\n*к сожалению, я слишком много подобного слушал, поэтому меня весьма сложно удивить на данном поприще. Но для неискушённого слушателя этот альбом может показаться очень даже интересным! Не стоит верить мне на слово, в общем. Проверьте сами!\n\n![](https://cdn.steemitimages.com/DQmRixAcFwd7XgA4E2VfYru4yJvnnwsmMEsSzXA2FWCfwJH/image.png)",
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      "body": "張衛帆 (Weifan Chang) – Detention OST (2017)\nWeary Bird Records [???]\nСаундтрек к игре Detention. Музыку написал господин Weifan Chang.\n\nСобытия игры происходят в мрачную эру в истории Тайваня. Каждая страна имеет какие-то неприятные времена, которые остаются в памяти народа несмываемыми пятнами, от которых никак не избавиться и хотелось бы их игнорировать бы, но не получается. В Китае - культурная революция, в США - вся эта история с неграми, в России - времена правления Сталина и в перспективе, возможно, даже наше время, а в Тайване таким периодом стали 38 лет военного положения с 1949 по 1988. В это время вас могли отправить на расстрел за случайно сказанное слово. Всё подвергалось цензуре, от газет до надписей на стенах. В общем, почти как в России сейчас. Ничего нового. (Это шутка! Я патриот, не расстреливайте меня)\n\nНесмотря на то, что Detention вроде как посвящена тому времени, и всей этой зашуганности и беспросветности, политические аспекты появляются в игре лишь эпизодически и не омрачают, в целом, хорроровскую составляющую геймплея. Привидения, монстры, психоделия - всё это затмевает реальные ужасы военного положения. Вроде как немного стыдливо прикрывает их: \"Это были не мы,! Не мы! Посмотрите лучше на монстра вот. Оппппа, вот он бегает. Убегайте!\"\n\nМузыка, кстати, отличная. Очень советую послушать хотя бы фоном, пока вы читаете что-то или просто гуляете по сети.\n\nhttps://wearybirdrecords.bandcamp.com/album/detention-original-sound-track\n![](https://cdn.steemitimages.com/DQmNUcHxVVe7WoK57ah7ZUE4kxf8ubNhYsqr53CL2zs7Nrq/image.png)",
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      "body": "Tao Zhen is an interesting musician from Shanghai. You could've heard a bit of his music on compilation album by playreclabel (Wang Changcun and Xu Cheng label) and occasionally on live perfomances with his wife (Li Huihui, 李慧慧, also a very talented person).  Here's an interview in which he explains his affection to upright stand instruments and explains why he decided to make music for games (unrelated to previous post. Kind of a coincidence).\n\n**雪的猫**\nSo let's start with your instruments! Except of cello and double bass what instruments do you play?\n\n**Tao Zhen**\nI was into metal music in high school. When i was in the second grade i found *Jimi Hendrix's* recording *«Jimi Plays Monterey»*, so I taught myself to play electric guitar, that was my first instrument. Before that I had listened to some jazz music: *Chet Baker, Weather Report, Miles Davis*, and I also tried to transcribe *Joe Pass*. At that time, 2005, the Jazz department was set up, but there was no jazz guitar course, only bass, so I began to study bass. I was lucky to grow up when chinese internet was developing, it helped me to find a lot of tutorials and information about music.\n\nDuring my first year in the conservatory I was interested in avant-garde and noise, but it was harmful for my traditional music learning, so I tried to focus on standard, bebop, modal jazz for the rest of my studying. But I was lucky, *Notch music festival* was held in those 4 years, that was the first time I had the chance to listen to some good jazz bands from North Europe, bands like *The Thing, Supersilent, Shining*. What I enjoyed the most in *The Thing* was their bassist's violent style, it just killed me. And we also had the opportunity to listen to some Japanese avant-garde musicians too. Sweet years for music.\n\nI'm not suited to Commerical Jazz Bar performing, so after graduation i had a lot of different jobs: hostel reception, commercial musician's assistant, commercial music editor, and now I am making the soundtrack for a game.\n\nBesides my jobs, I practice and compose. It feeds me.\n\n2012 was the year when I first started recording electronic music, I even sold my better double bass to buy a Macbook Pro and some equipment. Until 2016, I was all about synthesizers, sequencers were my best friends at that time. But later i realized that it is just a stylization, it couldn't help me to do the things I wanted to do, so I decided to play real instruments again. I can't play as well as before, so i treat my bass like a synth. And it's more flexible (in some aspects) than any synthesizer. In 2016, I was also into programming music, I've learned max/msp myself and programmed a track about interrelationship between harmonics.\n\nThe double bass for me is very special, because I haven't played bass for 2 years, so when i picked it up again I knew why I felt devastated: my hands felt literally empty, they were lonely. This year I began to practice bass every morning before I go to work, sometimes only for 10-20 minutes, but it makes sense. Now I practice with cello more, it's also upright and I can work with my soundtrack on it. Bass is not good for a melodic stuff. Anyway, I don't mind making music for commercials and games, I always try to have fun with composing.\n\n**雪的猫**\nWhen i first heard your EP i suddenly remembered this album by *Charles Mingus*. It was some strange avantgarde stuff... Were there any *Mingus* influences?\n\n**Tao Zhen**\nNo, I haven’t been influenced by him here, but i like the kind of person he was. I am more influenced by *Larry Grenediar*. He plays for *Brad Mehldau trio* and *Fly trio*.\n\n**雪的猫**\nSo, was it just an improvisation that you recorded for some reason? And why this album is so short?\n\n**Tao Zhen**\nThis music was made for my wife's short film. I just finished it in 15 mins, and cause I had to perform on oct 5, I thought it'd be nice to create a page on bandcamp to introduce myself. That’s how it was made. I am still embarrassed about sharing my improvisation, haha.\n\n**雪的猫**\nDo you know any other double bass players in China?\n\n**Tao Zhen**\nI haven't followed jazz too much. But I know a very young drum player who's now studying in Munich. His name is *Xu Zhitong*.\n\n**雪的猫** \nWow! Do you think he has a bright future? Is he a jazz musician?\n\n**Tao Zhen** \nYup, but he would better extend another genre. He can be a traditional master\n\n**雪的猫** \nYeah, jazz is out of date sadly... It's hard to find any good jazz bands lately. And the ones that are good, these ones overcame jazz and started to play the postmodern stuff. Like the band *Plaistow*. Or Norwegian musicians\n\n**Tao Zhen** \nYou are right. Norwegian Jazz was great, but it was ten years ago. I visited New York last year and I think that New York Jazz is also fading. I visited *Villiage Vanguard*, that is just like a famous sight now. Watched the performances of *Ravi Coltrane quartet* and *John Zorn*. Same boring shit. They played old stuff year by year. But some new genres which derived from jazz are really great.\n\n**雪的猫**\nWhat do you think about USA and China? Which country do you like the most?\n\n**Tao Zhen** \nI don't know, China is pretty safe. New York is safe too. A lot of police there. But people are not friendly in big cities.\n\n**雪的猫**\nI've never been to NY, but i guess you are right... Yeah, big cities are always like that. Is Shanghai friendly?\n\n**Tao Zhen**\nYes. Shanghai is good, but very expensive.\n\n**雪的猫**\nAny chances to hear your new music soon?\n\n**Tao Zhen** \nI am going to record some new music with my double bass. I will use ableton live to sample it and I will record some synth with the track and the drums. But I also don't want to kill the original acoustic of the recording, it should be fun\n\n[photo taken from artist's bandcamp - https://taozhen.bandcamp.com/releases]\n\n![](https://cdn.steemitimages.com/DQmbhnGgZgsVHUTMdTmeKjXEPkwG6wZhi4dwe4oaxyTUGjU/image.png)",
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