I’ve been having some really interesting conversations with my friend Ed Peto lately, particularly about upcoming and established bands in China. In a recent blog entry, he warns about the hype machine that’s surrounding Beijing’s burgeoning music scene. While we share similar viewpoints on the longevity and actual creative ability of many of the local bands currently on the scene, I do disagree on the point that that the scene is “simply too fragile to deliver”, and I fully embrace (despite my bitching and moaning) all the foreign photographers and writers who visit for two weeks and then leave touting the city as the “next big scene”.
Though it is absolutely ridiculous at this point to compare Beijing to other cosmopolitan cities like London or Montreal or New York or Paris, China has been closed off from the world stage for so long that even the idea of getting a glimpse of musicians and artists from out of this (still perceived as) exotic country is new and exciting, and the constant flow of articles written on the arts and music scene from big name papers like The New York Times is testament to how interested the world really is. While some people will disagree, I strongly believe that all this media attention only forces bands to be better, to try harder, and encourages people to write songs and pick up instruments.
When producer and drummer Martin Atkins of Pigface and Ministry fame came to town last year (as quoted on his China Music Network Myspace page, he had “taken it upon himself to open up China’s musical boundaries”), his entire trip was denounced as an idiotic flop after just a few short days. Atkins, who’s primary goal for his trip was to sign a handful of local bands and to bring them to great international glory, didn’t seem to understand the local scene at all, nor did he seem to have any kind of sense when it came to dealing with and working with Chinese people in general. This kind of imperialism makes me crazy, and it’s a good example for why many people around these parts are so bemused and disgusted by international attention.
Beijing has a terrific music scene, for all it’s ups and downs and mediocrity and moments of genius. If you strip away all your previous conceptions of rock music as you’ve known it and take the bands at face value for all their eagerness and naivety and enthusiasm, it’s a bit easier to swallow and some of the best gigs I’ve seen in my life have been here in China. Let’s hope for everyone’s sake that the world doesn’t lose it’s interest in what’s happening here, and as Ed says, every movement needs someone who’s relentlessly optimistic, otherwise people would falter in their support.
If you’re interested in the local music scene, or want to check out some bands and don’t know where to start, here’s a quick resource list of some of the bands, venues and labels I like:
Bands:
Rebuilding the Rights of Statues
Subs
PK14
Snapline
Queen Sea Big Shark
Lonely China Day
FM3
Hang on the Box
Labels
Tag Team Records
Red T Music
Modern Sky
Maybe Mars
Venues
2 Kolegas
Mao Live
D22
Star Live
Yugong Yishan
Tags: 2 kolegas, beijing, beijing music scene, china, china music scene, d22, ed peto, fm3, hang on the box, hedgehog, joyside, lonely china day, mao live, martin atkins, maybe mars, modern sky, pk14, queen sea big shark, rebuilding the rights of statue, red t music, snapline, star live, tag team records, yugong yishan
October 18, 2007 at 11:26 am
Good stuff Jenn.
I have a feeling that what you are describing as my ‘cynicism’ would be better described as my ‘guarded optimism’. If you re-read my post you’ll see that while I think it is crazy to put Beijing in the same league as Brisbane or Birmingham – something you say you agree with – there is still a lot to be excited/optimistic about – something you also agree with. I think we’re still on the same page.
I’m suggesting that this place really deserves its place in the sun but if people look too early then it will ruin it in the longrun. As I said..”the indie rock scene is quietly developing into something pretty special. Don’t begin the hype yet as this scene is simply too fragile to deliver. With bands like these on the up though, there is an unquestionable optimism about town.”
Not cynicism…guarded optimism.
Ed
October 18, 2007 at 11:32 am
yo booooooooooooooooooooooooooooooy!
i think you’re right, no one who knows you or have had a conversation about the local scene here would ever think for a second that you’re a jaded cynic (that sounds sarcastic! it isn’t!), but i do think that your post sounded a tiny bit so. maybe i need to re-read it a few times, or maybe i’m taking it in the wrong context.
i find that it’s really hard to write about any music scene in any city without coming off as either too harsh or too enthusiastic, there’s a human tendancy to tear things to shreds (which i am nearly almost always guilty of).
October 18, 2007 at 11:33 am
actually, after re-reading my OWN post, i think the perceived cynicism is mostly all my fault anyways, as i quoted you when you didn’t know you’d be quoted and therefore took it a bit out of context as well. i should rephrase that bit… :<
sorry about that! buy you a beer next time i see you?
October 23, 2007 at 1:04 am
Good to see the doors of this particular debate being flung wide open. Actually, I don’t think there is a debate – it’s both premature and pointless. Beijing’s doing fine on its own. Overseas press hitting town for a couple of days is also fine, but why the incessant need for international validation. Music is its own reward – or should be. Beijing has some great things going, why not just let it develop on its own. Frankly, media sponsored ’scenes’ are the last thing anyplace needs (and generally tend to happen a year or two after the actual music was being made) – media attention has destroyed any musical scene it has ever been focussed on – London 65, SF 67, New York/London 76, London 88, all decimated by media attention. This kind of media attention only ever works when it is retrospective – New York in the late 60s/early seventies, Detroit 69, Krautrock, etc. All were thoroughly productive moments in musical history that flourished, quietly, without any kind of attention. Do please bare that in mind.
There is obviously a scene (lower case) in Beijing, but there is no SCENE (upper case). Why not just enjoy the music. I don’t get the need to be part of a SCENE. Is it a ‘legacy’ thing, something for dustjackets.
—
Also, I remain firmly convinced that most overseas press interest is still very much of the ‘Well, golly gee, those Chinese aren’t queuing for bread, and hey guess what they can afford intruments’ school of thought, rather than the ‘Hey, we’re really interested in the actual music they’re making with the intruments’. Don’t want to rain on anyone’s parade, but it’s still all about the novelty.
October 23, 2007 at 1:05 am
p.s. Why on earth would it matter if ‘the rest of the world lost its interest’?
October 23, 2007 at 12:07 pm
Ian Sherman calling a debate about music (or any debate for that matter) pointless?! I’ve seen you debating for three months over whether or not to trim your goatee.
While I agree with the sentiment that music should be it’s own reward, I think this is a little naive. Playing for it’s own rewards is certainly a part of music but peer acknowledgement, rooms of screaming fans, newspaper headlines and the ability to do what you love for a living are all equally important factors. Like it or not, validation, even from the smallest audience, let alone the international media, is a driving force behind even some of your hallowed bands.
I’m not suggesting that it is important to have international attention for the success of Beijing’s live scene. I’m suggesting, as a separate point, that any international observers, or people who want Beijing to get international plaudits, should wait a while and not ruin a good thing before it is ready.
October 23, 2007 at 12:10 pm
Busy boy, Ian! Are you back in the middle kingdom now?
I don’t think we’re talking about media sponsored scenes, or arguing that Beijing’s music scene needs international validation to exist, but lets not deny the simple fact that the act of cultivating music and art is vastly different here than it would be in any developed Western country. Still, when the majority of Chinese bands wear their Western influences on their sleeves, it’s impossible to say that they themselves don’t need or want the attention, if only to further convince them that they too can have the American dream!
Also, don’t you think it’s a bit idealistic and naive to say that musicians anywhere in the world are simply content with “enjoying the music”? This is sadly true for a smaller portion of artists than we’d like to admit and rightly so. Art is art whether or not anyone sees it or calls it as such, but art develops and thrives in an enviroment that encourages and rewards it.
Yes, there are alot of good bands in China who have been making great music for years without any kind of outside influence or attention, but I can’t think of a single band who wouldn’t jump hoops to be signed to SubPop and given an advance to record albums or do a world tour. It’s the continuous coverage of and discussion of Chinese bands that will enable this to happen, whether or not the interest is valid or simply a case of watching monkeys in a cage.
October 23, 2007 at 12:12 pm
damn, Ed is always one step ahead of me. by 3 minutes, in fact.
October 29, 2007 at 6:02 pm
[...] the fledgling experimental music scene here in Beijing — after the recent debates in the comments section regarding good and bad international press, I think this article is a perfect example of the [...]