zusi Views: Night and Dayday, Indie Music Life in China

This interview is about Pale Air’s Dayday: The man, his bar and his band

I first visited Ale Garden for one of the venue’s jam sessions, and later met proprietor Dayday, Shi Xiangtian. Slim of build with a coif of hair and glasses, Dayday wouldn’t look out of place in an office, which is indeed where he spends his days for income. At night, to supplement his earnings and engage his passion for music, he has for the past few years taken on the management of a medium-sized bar and live venue near Fudan University, where I now walk into to partake in Ale Garden’s five-year anniversary.


我第一次来艾尔花园是为了参加这里的即兴演奏会,后来认识了老板天天(史翔天)。他身材瘦削,流着一盘头发,戴着一副眼镜,表面上和办公室里的人并不格格不入。为了补贴平时的收入,他有一份白天的工作。到了晚上,他全身投入自己对音乐的热情。在过去几年里,他负责管理复旦大学附近的一家中型酒吧和现场演出场所。现在我走进这里,参加艾尔花园的五周年庆典。

Dayday is there in his signature glasses, sporting a collared v-neck shirt, and downs a shot of Jim Beam. Within moments he takes the stage with a vital sounding shoegaze band, a wall of sound through almost walls of people. Tonight’s performance again features indie bands Thousand Failures and Yeqiu Quan, just as these groups have performed at previous Ale Garden anniversaries. The place is about half full to start, but gradually fills to capacity of about 40-50 standing. Ale Garden needs to have events, public or private, almost every night, in order to draw the mostly student and recent graduate crowd to the bar.


天天戴着他标志性的眼镜,穿着有领子的V 领衬衫,喝下一个 Jim Beam shot。不一会儿,他就带着一支充满活力的盯鞋乐队登台了。今晚的演出再次由独立乐队千败和野球拳担纲,这两支乐队在之前的艾尔花园周年纪念演出中也有过精彩表演。演出开始时,全场只有一半人,但后来逐渐站满了约 40-50 名观众。艾尔花园几乎每晚都需要举办公共或私人活动,以吸引以学生和新毕业生为主的人群到酒吧来。


Dayday says it all started with a musically-inclined cousin, who played the guitar and piano in addition to traditional Chinese instruments guzheng and erhu. In the summer after high school, Dayday picked up his cousin’s guitar and practiced changing frets and chords while watching TV shows, learning to play Escape Plan’s Ten Thousand Sorrows. 


天天说,对于乐器最早的接触源于他爱好音乐的表姐,他的表姐除了会弹吉他和钢琴外,还会弹中国传统乐器古筝和二胡。高中毕业后的暑假,天天拿起表姐的吉他,边看电视打发时光边练习和弦变化,学会的第一首演奏是逃跑计划乐队的《一万次悲伤》。


While his college roommate was a fingerstyle virtuoso and he spent some time with Fudan University’s rock club, Dayday attributes his time in Taiwan’s Sun Yat-sen University as being most formative, since he played out the kinks in his style there and “pre-made all the mistakes he could make before getting on stage back in Shanghai.” Covering songs by Jay Chou and Metallica and watching the University’s music club put on the Southern District Rock Festival were fun, but his own performances left much to be desired in terms of tightness and professionalism.

 
步入大学,他的大学室友是一位指弹高手,他自己也曾在复旦大学的摇滚俱乐部呆过一段时间,但天天将在他的萌芽主要归功于台湾中山大学的时光,因为他在那里他组了第一支乐队,风格多变,一直在磨合。“在回到上海的舞台上之前,我把所有可能犯的错误都预习了一遍”。翻唱周杰伦和 Metallica 的歌曲,观看大学音乐俱乐部举办的南区摇滚音乐节,这些都很有趣,他也意识到自己的表演在紧凑性和专业性方面还有待提高。


Invigorated by his Taiwan experience, Dayday formed bands in his fourth year of college, including Joint, Red-White Dice, and Before the Mirror which only lasted for a semester each. He graduated with regret for not getting into bands earlier, but this regret propelled him to form shoegaze band Pale Air in 2017, which has continued to the present day. Pale Air being a play on words Pale Ale, a beverage which bassist Li Qingyang has a particular fondness for. The band features Xu Weiyang on drums, guitarist and vocalist Zhang Jiangnan, and guitarist Dayday, and 2017 began a carefree time when the band could “play on effects panels all day long” and “immerse [themselves] in the sea of creation.”


台湾的经历让天天感到振奋,回到大陆已经是大学四年级,他在大学四年级开始组建了 Joint、红白骰子和镜间等乐队,但每支乐队都只维持了一个学期。毕业时,他后悔没有早点玩乐队,这种后悔感促使他延迟毕业一年,也因为这个决定在 2017 年组建了shoegaze 乐队 Pale Air,并一直延续至今。Pale Air是Pale Ale的谐音,贝斯手李清扬对这种啤酒情有独钟。乐队成员包括初代鼓手徐玮良、吉他手兼主唱章江南和吉他手天天,2017 年开始了一段无忧无虑的时光,乐队可以 “整天玩效果器”,”沉浸在创作的海洋里”。


Pale Air got its start in various Fudan venues along with Neo Bar, and is now signed with renowned indie music label Shengjian Records. The band recently released a studio album, their first since beginning the project in 2019, with influences such as Slow Dive, DIIV and Ringo Deathstarr. Prolonged creation of the album came from band members going abroad along with impacts from the pandemic, and succeeded in the end with recordings done in an uncle’s basement and Mark Gardener from Ride’s studio in the UK. Mixing was done by Chi from shoegaze band DoZzz, after the last recorded bits were completed in Dirty Fingers’ studio.


淡色艾尔乐队在周边酒吧和复旦的各个场馆起步,现已签约知名独立音乐厂牌生煎唱片。乐队最近发行了一张专辑,新鼓手灯灯加入,组成了新的阵容。这也是他们自 2019 年开始这个项目以来的第一张专辑,受到了 Slow Dive、MBV、Ride、DIIV 和 Ringo Deathstarr 等乐队的影响。因为乐队成员出国以及疫情的影响,这张专辑创作得很漫长,最终在章江南舅舅的地下室和英国 Ride 乐团的 Mark Gardener 工作室完成了录音。在 Dirty Fingers 工作室完成最后的录音后,混音工作由来自 shoegaze 乐队 DoZzz 的 Chi 完成,母带工作由来自东京茶乐队和下沉广场乐队的园长完成。


For his part, Dayday wonders if he should get started on something other than Ale Garden, which he originally took on because of health reasons. It’s not hard to see him as the driving force and a leader behind Ale Garden’s success – its WeChat posts get hundreds and even thousands of views now in a steady increase from before – and Dayday has tried his hand at organizing shows as well, with mixed results. His experience speaks to the difficulty of making an income in China’s current independent music scene: “It’s hard enough to think about myself, let alone the wider environment,” he admits, but “life becomes more three-dimensional because of music, it records the present, becoming a part of memory.” Here’s hoping fans can appreciate the effort put into the music and Ale Garden before Dayday (maybe) moves on to something new. 

(A jam session at Ale Garden)
对于天天来说,他不知道自己是否应该开始做一些其他的事情。如果最初不是因为健康原因选择不工作而接手了艾尔花园,现在的生活又会是怎样的呢?不难看出,他是艾尔花园成功背后的推动者和领导者–现在艾尔花园微信公众号的浏览量已经达到数百甚至数千,比以前稳步上升。他的经历说明了在中国目前的独立音乐场景中赚取收入的难度: 他坦言:”考虑自己已经很困难了,更不用说考虑大环境,但 “因为音乐,生活变得更加立体,音乐作为一种载体记录了当下,成为记忆的一部分。“ 希望乐迷们能在天天(或许)转向新的领域之前,欣赏到他为音乐和艾尔花园所付出的努力。

zusi Plays: Sunny Side Up in Cantoland

Sunny Side up features analysis and commentary from my former colleague, Sunny

The Cantopop scene has not created a generational icon for a long time, but it was the “IT” thing in the ’80s and 90’s.

In particular the 80’s – Anita Mui, Leslie Cheung, Alan Tam, Danny Chan, Priscilla Chan, Sam Hui, George Lam, Beyond, Jacky Cheung, Andy Lau – are among some of the Cantopop artists that launched the career and/or become extremely popular during that decade. 

Even without formal record labels to release their music in China in those days – there was no such system back then, ask anyone who grew up in the 60s,70’s, and 80’s in China, and many of them shall at least have some familiarity with Cantopop. How so?

The cassette tapes were the main medium that could be purchased from small vendors. Not only Cantopop, but also English pop, like Backstreet Boys, Celine Dion, Michael Jackson, and Japanese music on tape were also available.

But Cantopop was the top choice, in an era when Hong Kong was the destination many were looking up to, and where it dictated the trend of the Chinese music scene. It was definitely the golden era of Cantopop.

When sampling these three tapes, I was trying to understand people’s tastes at the time and the quality of music they listened to.

Tape 1 is mainly music bootlegs from Hong Kong radio stations – I can hear on one song the DJ was speaking about the weekly album ranking. The music was from the 80s that were lesser known tracks compared to the other two tapes discussed below (honestly, a lot of them I could not recognize and will require much more research).  Anita Mui and Priscilla Chan’s works were included.

(Image above is from https://thehoneycombers.com/hong-kong/hong-kong-radio-stations/)

Tape 2 is popular 80’s Cantopop songs seemingly being covered – they did not sound like the original.  Who covered them is unknown.  The songs were well-known, some were theme songs from Cantonese TV drama, which was also huge at that time, and some romantics songs like 只怕不再遇上 with a catchy chorus to leave an easy impression. There were quite a few Leslie Cheung covers, so it seems that was the big selling point.

(Picture below from https://thehoneycombers.com/hong-kong/best-leslie-cheung-movies/)

Tape 3 was from a live concert recording of a singer that I am not familiar with, but the songs covered at the concert were definitely well known in the 80s, including mostly Leslie Cheung’s popular works, some Anita Mui’s and other random ones. 

These music tapes did not have any bootlegs from the original albums. And even without better sound quality due to the bootleg conditions, nevertheless, these tapes were probably important sources of entertainment, and a window to expose to Hong Kong, the at the time glistening pearl of the East, even for rural and remote places, for those residing in China at the time.

The Three Canto Tapes are here: https://c.mail.com/@649543521753114149/uKoIz3R6QLa3qQ5TM3_A-w

The Full Tape History is here:

https://c.mail.com/@649543521753114149/A7iTxK5eS5ec797K4gH5rQ

zusi Views: Jane Nicola – No Stopping Now

Fourteen years into her China experience, Jane Nicola Douglas (“Jane Nicola”) shows no signs of slowing down.

Jane Nicola Douglas (尼古拉) 在中国的经历已有14年,不过她没有显示出任何放缓的迹象。

“I believe being abroad challenges us” – In many ways, Jane Nicola is the same soul-folk performer that she started out as in the U.K., having grown up in the art-centric countryside of Somerset. Besides performing in London into the wee hours of the night on Denmark Street while a student at Middlesex University, singing teacher Sonja Kristina encouraged Jane Nicola to songwrite. The lead singer of band Curved Air introduced her to long-time producer Graeme Holdaway, who also recognized Jane Nicola’s strength in songwriting.

“我相信身处在国外会给我们带来挑战”–在许多方面,尼古拉还是她在英国起家的那个灵魂民谣表演者,曾经在以艺术为中心的小村庄长大。除了在伦敦表演到深夜,一位歌唱老师Sonja Kristina还有长期的制作人Graeme Holdaway在这些早期的岁月里鼓励她作曲。

Graeme Holdaway (more on Graeme’s legacy is covered in Jane Nicola’s podcast, Soundvibe https://www.buzzsprout.com/1988529/11376339-celebrating-graeme-holdaway-uk-producer-part-1)

Jane Nicola’s Railtrack album dates from this time, and is making a reprise today with her new film collaboration with Remo Notarianni. Jane Nicola also acquired a Master’s in Music Therapy, but became “burnt out” from the U.K. In 2009. In her own words, she opened a travel book to whatever page first appeared and determined that her next location would be China.

尼古拉的Railtrack专辑可以追溯到这个时期,今天随着她与Remo Notarianni的新电影合作,她的专辑也在重新亮相。尼古拉还获得了音乐治疗的硕士学位,但在2009年从英国 “burnout “了。用她自己的话说,她打开了一本旅行书,不管先出现哪一页,结果确定她的下一个地点是中国。

https://music.apple.com/gb/album/railtrack/1626698669?i=1626698675

Jane Nicola taught both English and music in Ningbo during 2009 and 2021, respectively. She taught music and English culture in Shaoxing “without a music room,” which speaks to the challenges of private education in China in general. She also taught internationally in Singapore and spent time gigging in Hong Kong, before returning to China and sticking through the pandemic.

尼古拉在宁波教英语和音乐,在绍兴教”没有音乐教室”的情况下教音乐,,这说明了中国私立教育的普遍挑战。她还在新加坡教过国际课程,并在香港演出过一段时间,最后回到中国,在疫情中坚持下来。

“I wasn’t going to run off,” the musician asserted, organizing jams at a tiny bar in Hangzhou and trying to connect with other artists given the circumstances. Eventually, Jane Nicola began Soundvibe, a critically acclaimed podcast that provides in-depth interviews of artists, writers and musicians in China and beyond. It was Jane Nicola’s way of staying in touch and bonded with other artists during a time of isolation, and the program has taken on a life of its own. 

这位音乐家断言:”我不打算逃跑,”她在杭州的一个小酒吧里组织音乐会,并试图在这种情况下与其他艺术家联系。最终,尼古拉开始了Soundvibe,一个广受好评的播客,对中国和其他国家的艺术家、作家和音乐家进行深入采访。这是尼古拉在与世隔绝的时期与其他艺术家保持联系和联系的方式,该节目开始有了自己的生命。

“I’m becoming more of a recording artist now than a performance artist,” says Jane Nicola, who sees film as a different way to reach people in a more enduring way. Her experience as an educator also shines through: “Parents are asking more questions about well-being, probably because of COVID,” people are becoming a lot more aware. Jane Nicola describes one filmmaker and colleague who had a child during lockdown, and the effect that must have had on them. 

尼古拉说:”我现在更像是一个录音艺术家,而不是一个表演艺术家,”她认为电影是一种不同的艺术,可以更持久的方式接触人们。她作为教育者的经验也常出现在我们的对话里:”父母正在问更多关于well-being的问题,可能是因为COVID,”人们正在变得更加了解生活里的种种需求。尼古拉描述了一位在封城期间生了孩子的同事和电影制片人,以及这一定对他们造成的影响。

While at the Ningbo Music Festival – where Jane Nicola performed – she thought it was remarkable how families and young people were represented at the festival, enjoying themselves. Performing and performances serve as stress relief, but also bring participants a sense of accomplishment. For Jane Nicola, a seemingly never-ending formula for action and activity seems to have been adroitly concocted: Don’t miss whatever comes next. 

在宁波音乐节上–尼古拉在那里也有表演–她看到许多家庭和年轻人在音乐节里乐在其中。表演和演出作为压力的缓解,也为参与者带来了成就感。对尼古拉来说,一个看似永无止境的行动和活动公式似乎已经被巧妙地炮制出来了: 不要错过接下来这个艺术家发布的作品。

Follow Jane Nicola on Soundvibe http://www.janenicolasoundvibe.com and her performance work below:

http://www.janenicolasoundvibe.com

http://www.janenicola.com

zusi Additions: J-Plus Travelog – Part II covering Kyoto and Kobe

J-Plus continues with Kobe and Kyoto, but because there’s a story to go with my trip to Kobe, let’s go to Kyoto first.

This isn’t the first time I’ve been to Japan, Osaka, Tokyo or Kyoto – I visited when I was in elementary school on an exchange trip between elderly Americans and Japanese families. 

You might wonder how I, not an elderly American, became part of the trip. Well, my grandparents went, and brought me with them to Yamaguchi Prefecture, among other sights. I remember well waking up to a hotel breakfast in Tokyo and seeing the news ticker lined with Kanji, or Chinese characters – easy reading for having grown up learning Mandarin in Taiwan; it felt familiar. 

Kyoto was about the same as I remembered it, just with a lot more Chinese tourists this time. I will let the photos do the talking. 

At one point I found myself at the foot of a hill, and started walking up through the mosquito-laden area to a view of the city.

Kobe began with style in the harbor, fancy restaurants and bars, scoring a picture of me when I was 25 years old. 

Also impressive were the Japanese wrestling posters and other ads. But the return journey featured a highly inebriated man, who almost lost his phone were it not for the timely intervention of a good samaritan – myself.

He writhed and wrangled his way across the train car to the disgust of many, but I knew the feeling. 

Next time, the castles, gardens and paths of Kanazawa…And now, your J-Plus tape, which apparently was released along with a magazine covering Japanese music of the same Sounds of Japan name:

https://c.mail.com/@649543521753114149/QNrRdZf_QNyvDkQyzCXTFg

The Tape History is here:

https://c.mail.com/@649543521753114149/A7iTxK5eS5ec797K4gH5rQ

What’s the deal with the J-Pop Tapes?

zusi Views: Lakipak – An Experiment of Musical Particles

Lakipak: 音乐粒子的实验

When guitarist Nick Aliev asked a veteran Shanghai bassist if he wanted to jam to some of Aliev’s songs, he didn’t expect the answer to be yes. That’s how the backbone of Lakipak was founded in pre-pandemic China, with the group is slated to perform four nights at the Shanghai Lincoln Center jazz club starting in late April. 

吉他手Nick Aliev在疫情前问资深上海贝斯手Fred要不要谈谈他写的歌的时候,“Yes”是出乎他预料的回答。如今Lakipak 会在4/30开始在上海Lincoln Center演出。

Aliev describes Lakipak as a musical experiment: Put experienced musicians together with the outline or “skeleton” of one of his songs, and pretty soon the mostly classical, jazz and gospel-trained members are going to fill out a bass line here or a hook there on their own. Aliev defines the genre solely as jazz/R&B, but listeners of Lakipak – of which there are thousands on Spotify – probably don’t need to pay much attention to labels to enjoy the show, and neither should you. Six singles so far – with more coming soon – feature a whopping four lead singers, which speaks to the inventiveness of the ensemble and its diverse styles, although Veronica will be the crooner taking the stage come April 30th along with keyboardist Chad Higgenbottom, bassist Francis Akwasi and drummer Pascal Naigom.

Lakipak是一个音乐的实验:把经验丰富的音乐家与Aliev的歌结合,原本受古典和爵士乐教育的成员顿时开始演唱Jazz/R&B这么一个东西。别担心-六个single马上会变多,但是四个主唱应该不会了,短时间内以后都由Veronica主唱。

“The goal is to surround myself with better musicians than I am,” Aliev laughed, noting that “there must be something in the water in Mauritius,” where bassist Fred is from, given how many good musicians come from there. Aliev’s own music background is a winning combination of classical and metal, and he describes Lakipak as not for the “casual listener,” due to the group’s music having complexity mixed with a little pop simplicity. The trained ear will hear complex breakdowns with countervailing but at times soaring melodies, bringing a fusion genre to bear in a process that Aliev describes as “just do stuff…it’s more valuable to experiment” at this point in the group’s formation than be tied to any particular style or formula. 

“目的是要找一些比我厉害的乐手,” 包含毛里求斯来的Fred,又是一个那个国家来的音乐奇才。Aliev 自己是古典音乐和重金属的结合品,使得Lakipak在某种程度上不是随便听的音乐,颇有剧情和复杂度,时而反切时而高昂的旋律值得分析,也很值得听进它们的pop内容。这种制作过程被形容为“just do stuff”。

On Lakipak’s signature “Groovin’,” cozy visual cues from Silk Sonic’s pandemic-inspired in-studio music videos mix with decidedly jazzy chords in an R&B style. Anti-war “Without a Gun” reflects the Eastern European origins of some of Lakipak’s members, while the pandemic also saw some musicians stranded in exotic locales for a time or leaving China entirely, although without too much effect on the ultimate composition of the band. 

虽然有乐手在国外待了一阵子,甚至离开中国,疫情并没有重度影响Lakipak的进度,推出视觉上虽受Silk Sonic影响的”Groovin’”,音乐上确属于完全不同的阵地。

“Shanghai is still the capital of Eastern music, with the possible exception of Jakarta or Tokyo – definitely for the Chinese scene, which is starting to get into the spotlight with new performances and artists going abroad,” Aliev describes. Many of the new generation of musicians were trained by a previous generation, which goes to show how Shanghai’s music scene in particular is very welcoming, with people being largely non-judgmental and willing to greet and help out newcomers. 

“上海仍是东方音乐的首都之一,特别是对于中国本土音乐,新上演及出国巡演的艺人多的是,” Aliev说。很多当代的音乐人是被上一代教导的,大家都是互相鼓励的一群人,上海就是这种音乐人人情味特别重的一个地方,对于新手也是。

He has an additional message for readers, delivered with his classic deadpan and laugh: “Come to our show!” 

”来看我们的演出吧!“

zusi Plays: Shanghai Opera – Tears of a Prostitute (Ji Nu Lei, 妓女泪)

(提供沪剧妓女泪录音以及英文介绍)

If you’ve been reading this blog regularly, you will know that we get weird and wonderful sometimes. In celebration of Spring finally arriving, we’re going to do 妓女泪 – “Tears of a Prostitute” – with Tape History recordings of early Songhu (Shanghai) Opera provided in the link below:

https://c.mail.com/@649543521753114149/GRH3aJ1-TPWmTLAYKXshTg

Traditional music enters the tape history in a number of ways, with Songhu Opera (沪剧) being only one form of Chinese opera for which tape records exist. Not to be confused with its more widespread cousin, Yue Opera (越剧), Hu – 沪 – is the Chinese character for Shanghai. This particular opera using the Shanghai dialect originated from a folk style of music in the Pudong area, where it became known as 滩簧. In 1927, this style gained definition in local traditional opera presented in stage plays (文明戏), and then officially became Huju in 1941 (thanks Sogou Encyclopedia). 

Chinese opera with printed lyrics is a fantastic way to learn dialect – Shanghainese in this case – and listeners will find that the music is quite good in most Chinese operatic styles, as their casts have traditionally represented a portion of China’s top musical talent. 

Ji Nu Lei is a 1940s-era tale about a mother who becomes a prostitute to support her son after her husband is brutalized by the Japanese; the husband later commits suicide. She is predictably taken advantage of because of her status, but her son is able to finish school (him being out-of-school is seen as another nightmare scenario) and gets married, though he is too ashamed to see his mother. A real tear-jerker through and through, and different from other Chinese opera in its modern dialogue and contemporary settings and costumes.

Only tapes two and three from a three-part series that makes up the full performance are available in the tape history, but it gives you a flavor of this style of opera. The full Tape History is provided via the link below:

https://c.mail.com/@649543521753114149/A7iTxK5eS5ec797K4gH5rQ

zusi Plays: Sunny Side Up – 1990s-2000s Japanese Pop Compilations (日之韵)

My friend and colleague Sunny had a listen to the late 1990s to early 2000s-era Japanese Pop compilation tapes in the Tape History. Here’s what he found:

前同事Sunny听了九零年代末两千年代初的日之韵磁带,发现有很多歌曲翻唱的版本在我们的藏品里: 

Recently a pile of J-Pop compilation tapes was discovered and sent to me for “analysis”. I finished listening to one of those, Volume 14, from August 1999. It was an interesting head scratcher about this release.

There were many popular tracks from the late 90’s to 2000’s in this compilation. Among them, one of the top selling singles ever, Tsunami by Southern All Stars, played as the first track. Other popular and mildly popular tracks made its way to the compilation, like:

Miki Imai – Goodbye yesterday

Do As Infinity – Yesterday and Today

Shiina Ringo – Gibbs

Luna Sea – Gravity

Gackt – Mirror

Mr. Children – Kuchibiru

Hysteric Blue – Haru

Glay – Beloved

B’z – Konya tsuki no mieru oka ni 

and so forth…

I listened to many of these tracks frequently in my youthful, university and highschool days. Nostagic hits, but then I noticed something was odd.

Interestingly, when I looked at the printed tracklist from the cassette insert, none of them matches the printed tracklist.

And then when listening carefully, other than two tracks – Southern All Stars and B’z, all tracks from this release was not with original vocals. It was not that the alternative vocals were bad, but just that the distinct vocal character that are accustomed to the tracks were definitely different. Some of those vocals tried to emulate the original but nowhere to be close – say, for Kuchibiru. And it feels like 1 or 2 tracks’ tempo were much faster as well, like the Luna Sea’s Gravity.

I wonder where these tracks were sourced from. Who were the alternative vocals? And since the original were widely available, why it was produced and sold like this? Was it vocal tracks just overdubbed over the instrumental tracks available on the single releases? Was it difficult for Japanese music finding their way into China in those years? But it has been known many other bootlegged versions were already available by then. 

The vocals on the tape were actually quite charismatic in their performances. It is just the logic in making the release is difficult to comprehend. It is not for the real fans, so maybe perhaps for those who has never listened to J-Pop but want to have a taste in the era with slow, or in rural China areas, and/or places with no internet connection.

Sounds of Japan” Tapes are available at the below address and additional tapes will be added on a rolling basis: https://c.mail.com/@649543521753114149/jMtIk6moSzaOcaIstWAZpQ

zusi Plays: Sky Wu (伍思凱), or lonely Auntie mood music

March kicks off with veteran Taiwanese pop magnate Sky Wu (伍思凱), whose decades-long career included plenty of support from fans on the Mainland. This particular compilation is a sax-drenched collection of measures that would fill many a smoky, boozy bar or nightclub, comprising almost exclusively of slow songs for depressed aunties to drink to – more on this later.

The songs remind of 1990s Taipei: Mopeds, traffic lights and ill-fitting clothing, if the music videos of the era are to be any guide. I’m personally not a huge fan of the verbose, flowing lyrics typical of the 1980s and early 1990s, but others may have a different opinion. The song selection on this particular album is contrived, with tunes sounding much the same as each other. Yes, on 你看到了沒有, guitar riffs, bass and keyboard fit inspiringly with vocals. But phrasing choices often turn originally mellow lines and music into higher-strung lamentations over otherwise impressive words.

You can find the tape here: https://c.mail.com/@649543521753114149/UoD0lwk6Sq2LK3liYeFHvA

The Full Tape History is here: https://c.mail.com/@649543521753114149/A7iTxK5eS5ec797K4gH5rQ

zusi Additions – Easy Listening and Chinese Pop

No frills – just three new updates to the zusi Tape History, headlined by Qi Yu (齐豫, early 1980s China), and some unidentified Canto and Mando-pop. Enjoy!

https://c.mail.com/@649543521753114149/wacbXOZwQCuWuGlLyJTIfw

Full Tape History:

https://c.mail.com/@649543521753114149/A7iTxK5eS5ec797K4gH5rQ

Picture Source: https://zhuanlan.zhihu.com/p/62293272