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Author Topic: Sino-Japanese ...relations  (Read 4018 times)


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Sino-Japanese ...relations
« on: May 20, 2008, 10:23:32 PM »
Does anyone have a comment or opinion about the history of the noise scene in China?

How far back does avatgarde music go back there? - is Li Jianhong the  first, as  he seems to be the most visible?

I wonder how or if the authorites look upon such a movement , if known to them at all?

Amongst the different artists there, it appears that there is some influence of “old school” variety (’80s type) of  noise….

General article:

A clip  displaying some Rallizes / Fushitsusha aesthetic !!!

李剑鸿 blog:


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Re: Sino-Japanese ...relations
« Reply #1 on: May 21, 2008, 03:23:05 AM »
I'm sure there must be a far longer history than that. Certainly I recall bands going back a decade or two - but a lot of them tended to be bad hard-rock/metal bands, where the parameters of the genre itself probably felt oppositional enough without needing to go any further structurally or lyrically.
But there must surely have been more interesting things happening on the artistic side long before that. I recall Mukai Chie for one playing at a festival in China in the nineties that was shut down by the authorities. My guess would be that a lot of stuff happened that wasn't documented to any great degree. Or if it was documented, it never got distributed outside China. Maybe now things are more open we'll finally see some documentation appearing.
Perhaps the guys at White Noise in Hong Kong (http://www.whitenoiserecords.org/) might have a better handle on what was happening in the mainland...

Li Jianhong's stuff always seemed very aware of, even informed by, Japanese noise. You can read his Japan tour diaries from last year in English from the links here:


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Re: Sino-Japanese ...relations
« Reply #2 on: June 10, 2008, 02:40:12 AM »
Thanks for the elucidation of the Beijing rock scene to give perspective on the development of the more recent subterranean elements which are the concern of this page.

As for “citizen” avant-gardists, the first to come to mind would be in the form of authority defying subversiveness of Shostakovich.

As for China its two most famous classical pieces:
《梁祝》小提琴  协奏曲 Butterfly Lovers [梁祝 Liáng-Zhù] 梁祝  黄河 Concerto
Composed [1959] by 何占豪 (He Zhanhao) & 陈钢先生 (Chen Gang)
Performed by 俞麗拿 Yu, Li-na (violin)
黄河協奏曲 Yellow River Concerto
Composed [1969] and performed by 殷承宗 Yīn Chéngzōng (piano)

Both pieces fell foul of the Cultural Revolution - not to mention all the artists.

The first understandably so, being more apparently derived from folklore.
The latter, despite the presence of “East is Red” <<东方红 Dōngfāng Hóng>> thematic material it was eventually censored for it’s  déclassé content.

Not until the 80’s  Lina Yu could only play the recording for her children, very covertly, with their ear to the stereo speaker…

But, perhaps we will hear some of these themes in the approach to 08/08/08 ?!


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Re: Sino-IOC ...relations
« Reply #3 on: August 03, 2008, 01:00:33 AM »
For anyone curious about the modern Chinese music alluded to above
(post-punk?......any worse than some of Alchemy's early releases?!)
A tenuous link, however, it's topical at least with 08.08.08 upcoming:
a little documentary about miscellaneous cultural matters (music incl.)
Audio download here:
« Last Edit: August 03, 2008, 01:02:28 AM by Coquille »