Various Artists | Red Rock

Reupped once again (on Feb 15, 2015) here.

[Originally posted in early 2010; first reposted in August 2011. See recent articles I wrote on Chinese punk here and here.]

After 10 years of bodega diving, very little surprises or shocks me. When I picked up, last summer in Brighton Beach, a Russian CD featuring on the cover two large shirtless orthodox Jewish guys made up to look like walruses, complete with huge tusks, I pretty much figured I'd seen and heard it all.

Not so, as it turns out. I found Red Rock in one of my favorite Bowery Video stores, all way the in the back of the joint, where they keep the stuff from Korea and mainland China.

The rock versions of these communist songs are intentionally ironic; artists include Cuī Jiàn, whose "Balls under the Red Flag" I posted here.

In addition to a lot of the music on this admittedly uneven collection, I love the list of songs as translated into English on the back cover:

The long march newly on the road shakes to roll
The Chinese people's liberation army army song
Socialism is good
The internationale
The small bird
Member of a society all is a light exposed to the sun
Brother
Colorful clothes clothing
Ideal and peace
Leave oil lamp light
The Chinese people's volunteer battle song
The detachment of women even song
We walk on the main road
The egg under the red flag
Nanniwan area
Not own a thing in the world [this is actually Cuī Jiàn's legendary anthem "Nothing to My Name"]
Feel too ashamed to show the face
Is not that I am in vain unknown
The end rises lucky its tommy gun
The tunnel warfare
The holding in arms armed forces flower drum
Learn the good good example of Lei Feng
The rambles in the sky
Big production
Mans and wives are in pairs the family still
It is full of water
Greenhouse girl
Together Hong Bu
Girl is handsome
Elder sister
The ant ant
The river water of folk song in the spring of Caing be compared to
Beijing that good night
The beacon-fire Yangzhou road
The bird hovering

Check out this fabulously punked out video of Communist classic "She Hui Zhu Yi Hao" ("Socialism is good," the third track in Red Rock):

Hang on the Box | 4 Albums

Just reupped here.

Hang on the Box, mainland China’s first all-girl punk unit, was a glorious mess of contradictions and extremes. Their first live performance, for a small but fanatical crowd of fellow Beijing punks, was met with boos, laughter and jeering; six months later they were on the cover of the local edition of Newsweek, serving as poster girls for an entire generation of Chinese youth. Lauded by critics for politicizing gender through their empowered, femme-forward lyrics, they were famously scornful of Cobra, the only other all-girl rock group before them on the mainland. [Read the rest of the article in Burning Ambulance.]




A reader's comment this morning about the article excerpted above prompted me to go ahead and post the full run of albums by this much-loved legendary band. 

The Fly | The Fly I

Reupped in 320 glorious kbps at a reader's request, here.

It seems fitting that my introduction to Chinese rock would be through a random CD I picked up in a dollar bin in Brooklyn’s Chinatown shortly after 9/11. The CD was the 1997 debut album by pioneering Beijing punk band The Fly. The bin was outside of Xinhua Bookstore/Fantasy Audio & Video Inc. (8th Avenue just below 53rd Street) in Sunset Park.

Fitting because, after all, rock and roll in the People’s Republic took off in the late 80s to early 90s with the introduction of dakou (打口, “saw gash” or “cut out”) cassettes and CDs from the Western world—literally, remaindered discs and tapes intended for landfill but rerouted to dakou stores where people like Feng Jiangzhou, the Fly’s lead singer, got his first taste of the once forbidden music. [Read the rest of this article in Open City.]



Part one of two, from what appears to be a Japanese documentary about Beijing punk.


Part two of two, of same.

Hang on the Box | "No Sexy"

Listen to "No Sexy"

An article I wrote about Hang on the Box, China's first all-girl punk unit, just went live at Burning Ambulance. Read it here.

Beijing's first punk band, The Fly

A short article I wrote about Beijing's first Punk Band, The Fly, was just published in the Asian American Writer's Workshop magazine, Open City, here.

And for those interested in the album mentioned in the article, you can get it here. 

Cui Jian | Power of the Powerless

Listen to "Slackers"

Listen to "The 90s"

Listen to "Buffer"

Get it all here.

Imagine if Bruce Springsteen, in addition to being politically savvy and popular with both audiences and critics was musically edgy and interesting. That's basically what you get with Cui Jian. And this album, recorded in 1998, four years after Balls Under the Red Flag, might just be his most musically exciting.

BEST ALBUMS OF 2011 | REPOSTING

[I posted this a week or two ago but am reposting it, given that there's only two days left of the year. I'm going to start off 2012 by reposting albums from the first month or two of this blog, back before I was putting everything into a single zip file, making downloading infuriating-to-impossible. So, watch out for that.]

I've provided links to get this music, all for free, and all from others' uploads. (I was surprised to find each of these online somewhere; I didn't have to upload anything.) I encourage you in every case to seek out original CDs and actually buy them, whenever possible. Also, I can't guarantee that everything will still be there in month or so--or even in a week or two ...

Marshmallow Kisses
Ciao!Baby
Released January 25, 2011

This is one of my top two CDs of the year, and possibly the album I listened to most after discovering it online a couple of months ago while sleuthing around about Hong Kong underground music. While the MKs are somewhat late to the Hong Kong twee party, their first two albums (their first being I Wonder Why My Favorite Boy Leaves Me an EP) have delivered far beyond my own expectations for the genre ... and I'm a huge fan of HK twee pioneers My Little Airport, Ketchup and the Pancakes.

I have no idea what sort of legs this terrific ray of sunshine would have outside of the Special Administrative Region, but it seems criminal that not even Pitchfork seems to know about it. Get it here.

Listen to "Jazz for Lovers; Solitude for Me"

* * *

Deerhoof
Deerhoof vs. Evil
Released January 25, 2011
I'm just as shocked as you are to see a U.S. band among my top 10, but along with Ciao!Baby, this was my most listened to CD all year. (My two top faves of the year were both released on January 25.) In another 2011 top 10 I read online, someone else described the album as "utilitarian," noting the lukewarm response it received from critics, who generally like the album but complain about it being unfocused, or even ADD. That actually makes it the perfect record for the kind of listener I am: completely bored with the simplicity of most western popular music but not terribly thrilled by most jazz or classical, either. It's what's driven me to track down every Albanian, Bangladeshi, Brazilian, Burmese, etc., etc. bodega in NYC, where I can get music I can really respond to on a visceral level. (Most western critics write about pop as if they respond to it on a purely socio-semiotic level; reading music more than than listening to it.)

Personally, I think this is the best album Deerhoof has ever made: sonically rich, forward-looking, utterly brilliant pop that sounds like it couldn't possibly have been made in this country. Get it here.


Listen to "Qui Dorm, Només Somia"

* * *

Najwa Karam
Hal Leile ... Ma Fi Noum 
Released June 28, 2011
Holy crap, but I love Najwa Karam. I have--I'll admit it--zero objectivity when it comes to this woman; she could release an album sitting on the toilet reading Jewel poems translated into Arabic and I'm sure I'd buy it, listen to it and profess my undying love for it. That said, trust me when I tell you that this record totally and unimpeachably fucking rocks. Other than her voice getting consistently deeper and more powerful, little has changed since the Lebanese superstar began recording in the late 80s: nearly every record she puts out is either the dabke or the baladi equivalent of AC/DC, Rolling Stones or, closer to home, Hakim. And this one, quite honestly, is the most rockin' she's put out in a few years--it's like the Some Girls of her career.

Did I mention how hard she rocks? Or how hard this record rocks? If this wasn't such a recent purchase for me, it would probably be right up there with Deerhoof and Marshmallow Kisses in the "most-listened-to" category. I'm sure it'll earn that status soon enough. Get it here.


Listen to "Ya Baie"

* * *

Sōtaisei Riron
Correct Theory of Relativity
Released April 27, 2011
Sōtaisei Riron means "theory of relativity," so the title is kind of a play on the idea of a correct theory and the fact that most of this album is made up of remixes of the band's earlier work by Yoshihide Otomo, Spank Happy, Buffalo Daughter, Arto Lindsay, Cornelius and others. These aren't, however, remixes that sound like remixes--this album is completely unique, beautiful and totally perplexing. (Track three, for instance, is NOT a mistake; although it took me several tries before I was able to listen all the way through to the end and realize what, exactly, it is.) Perhaps appropriately, the first song, "Q/P," one of the two non-remixes on the album, opens with the words: "I. Don't know. Wha. Choowhachoo want ..."

The band has come a long way from its kind of Smiths-soundalike-with-female-lead-singer, and this album, though I bet it throws some fans off, is another great surge forward. Get it here.


Listen to "Q/P"

* * *

Pairs
Summer Sweat
Released September 30, 2011
I know next to nothing about this band, which I "discovered" via Music Has the Right to People a couple of weeks ago. From what I've been able to suss out, it's a male-female duo based in Shanghai; this is their second album; and this one was produced by Yanghai Song of Beijing punk superstars PK14. When my absolute favorite Chinese punk band, Subs, released the deeply disappointing Queen of Fucking Everything last year, followed this year by a less-than-thrilling Honeyed and Killed from the once fabulous Hedgehog, I just assumed that punk in China had shot its wad. Apparently, it's just moved south to Shanghai.

This record is stripped down, extremely raw and in some ways every bit as surprising as Wire's Pink Flag (songs range in length from the 52 second "Christmas" to the nearly five-minute long "My body is not a wonderland"). I suspect it'll convince at least a few of the more cynical of you out there that, in fact, "punk's not dead." Get it here.


Listen to "Cloud Nine"

* * *

Zee Avi
Ghostbird
Released August 23, 2011
This is the only record (other than the Deerhoof) that actually, so far as I know, has legs here in the U.S. In fact, you're more likely to know more about her than I do, as I only recently stumbled onto this record, wholly by accident, while scrolling through the music blog Chinese Music Collection. (Yes, I know she's Malaysian; thanks.) I don't know what her record was doing on that blog, but there it was, and I'm rather happy to have it, although I have no idea if I'll still be listening to it in another week or two; it's already starting to feel ickily like any number of earnest American or British neo-folkers whose work I have strenuously attempted to avoid for the last several years.

That said, I do love "Siboh Kitak Nangis" and "The Book of Morris Johnson," neither of which I can imagine getting tired of any time soon. Get it here.


Listen to "The Book of Morris Johnson"

* * *

Guitar Wolf
Spacebattleshiplove
Released, golly ... sometime in 2011
This is a self-released album, recorded in Tokyo in 2010 and intended to be sold during Guitar Wolf's 2011 Hoochie Coochie Space Men North American tour. It is so ear-shreddingly raw, so super em effin' rockin', words simply can't describe how much I love it. How is it that, while 80s Japan rockers Shonen Knife have gotten increasingly self-consciously cute, Guitar Wolf has just gotten more fucked-up and awesome? Don't get me wrong; I love both bands. But GW has no right to be this full of energy, this rockin', this far into their career. For one thing, it isn't fair to everyone else. For another, it's just confusing. 

Get it here.


Listen to "Hoochie Coochie Spaceman"

* * *

Da Bang
Bone Hug

Released October 1, 2011

I'm seriously running out of steam here, so don't expect a lot of vivid description at this point. And, honestly, we're starting to get into "uneven" territory now. But the "end of year" convention demands 10 albums so, so help me god, that's what I'll deliver. I don't love everything on this record, but I love the stuff that sounds like super-jacked up 80s synth pop, especially "No-Hero-Days," which is as good as anything Big Sea Queen Shark has recorded, and "冰心" (which I'm assuming is about the famous Chinese writer of the same name).

Definitely worth a listen. Get it here.


Listen to "No-Hero-Days"

* * *

Juusho Futei Mushoku
JAKAJAAAAAN!!!!!
Released sometime in 2011
I love this band so much it hurts. That said, their follow-up to their 2010 debut isn't quite as mind-blowing, though it certainly has its moments. I really, really, really, really, really, really wish I could find the video they shot for "One Two Three"; it was insane. Alas, it appears to longer be on YouTube, perhaps owing to the fact that it wasn't, to be perfectly honest, exactly P.C. Or maybe I just lack the skills to find it again. (If you find it, for god's sake, please let me know.)

Get it here.

* * *

10cm
1.0
Released February 10, 2011
In truth? I don't love this album, but I think this band, which I'm pretty sure is a duo, from Korea, has potential. They can either go one of two ways: Slicker and less interesting, or more Jonathan Richman/Crowd Lu-like and awesome. Time, I suppose, will tell. I wouldn't have included it here except that (a) it does seem promising and (b) fairly different from most K-pop.

Get it here.


Listen to "King Star"

* * *

So, what do you think? And, more to the point, what are your own favorite albums of 2011? Post your list in the comments below, or, better yet, include a URL to your own blog, if you have one. (But, seriously, if your list includes Wilco or PJ Harvey, don't bother.)

10 Best Albums of 2011

I've provided links to get most this music, all for free, and all from others' uploads. I encourage you in every case to seek out original CDs and actually buy them, whenever possible.

Marshmallow Kisses
Ciao!Baby
Released January 25, 2011

This is one of my top two CDs of the year, and possibly the album I listened to most after discovering it online a couple of months ago while sleuthing around about Hong Kong underground music. While the MKs are somewhat late to the Hong Kong twee party, their first two albums (their first being I Wonder Why My Favorite Boy Leaves Me an EP) have delivered far beyond my own expectations for the genre ... and I'm a huge fan of HK twee pioneers My Little Airport, Ketchup and the Pancakes.

I have no idea what sort of legs this terrific ray of sunshine would have outside of the Special Administrative Region, but it seems criminal that not even Pitchfork seems to know about it. Get it here.

Listen to "Jazz for Lovers; Solitude for Me"

* * *

Deerhoof
Deerhoof vs. Evil
Released January 25, 2011
I'm just as shocked as you are to see a U.S. band among my top 10, but along with Ciao!Baby, this was my most listened to CD all year. (My two top faves of the year were both released on January 25.) In another 2011 top 10 I read online, someone else described the album as "utilitarian," noting the lukewarm response it received from critics, who generally like the album but complain about it being unfocused, or even ADD. That actually makes it the perfect record for the kind of listener I am: completely bored with the simplicity of most western popular music but not terribly thrilled by most jazz or classical, either. It's what's driven me to track down every Albanian, Bangladeshi, Brazilian, Burmese, etc., etc. bodega in NYC, where I can get music I can really respond to on a visceral level. (Most western critics write about pop as if they respond to it on a purely socio-semiotic level; reading music more than than listening to it.)

Personally, I think this is the best album Deerhoof has ever made: sonically rich, forward-looking, utterly brilliant pop that sounds like it couldn't possibly have been made in this country. (File removed from link; sorry.)


Listen to "Qui Dorm, Només Somia"

* * *

Najwa Karam
Hal Leile ... Ma Fi Noum 
Released June 28, 2011
Holy crap, but I love Najwa Karam. I have--I'll admit it--zero objectivity when it comes to this woman; she could release an album sitting on the toilet reading Jewel poems translated into Arabic and I'm sure I'd buy it, listen to it and profess my undying love for it. That said, trust me when I tell you that this record totally and unimpeachably fucking rocks. Other than her voice getting consistently deeper and more powerful, little has changed since the Lebanese superstar began recording in the late 80s: nearly every record she puts out is either the dabke or the baladi equivalent of AC/DC, Rolling Stones or, closer to home, Hakim. And this one, quite honestly, is the most rockin' she's put out in a few years--it's like the Some Girls of her career.

Did I mention how hard she rocks? Or how hard this record rocks? If this wasn't such a recent purchase for me, it would probably be right up there with Deerhoof and Marshmallow Kisses in the "most-listened-to" category. I'm sure it'll earn that status soon enough. Get it here.


Listen to "Ya Baie"

* * *

Sōtaisei Riron
Correct Theory of Relativity
Released April 27, 2011
Sōtaisei Riron means "theory of relativity," so the title is kind of a play on the idea of a correct theory and the fact that most of this album is made up of remixes of the band's earlier work by Yoshihide Otomo, Spank Happy, Buffalo Daughter, Arto Lindsay, Cornelius and others. These aren't, however, remixes that sound like remixes--this album is completely unique, beautiful and totally perplexing. (Track three, for instance, is NOT a mistake; although it took me several tries before I was able to listen all the way through to the end and realize what, exactly, it is.) Perhaps appropriately, the first song, "Q/P," one of the two non-remixes on the album, opens with the words: "I. Don't know. Wha. Choowhachoo want ..."

The band has come a long way from its kind of Smiths-soundalike-with-female-lead-singer, and this album, though I bet it throws some fans off, is another great surge forward. Get it here.


Listen to "Q/P"

* * *

Pairs
Summer Sweat
Released September 30, 2011
I know next to nothing about this band, which I "discovered" via Music Has the Right to People a couple of weeks ago. From what I've been able to suss out, it's a male-female duo based in Shanghai; this is their second album; and this one was produced by Yanghai Song of Beijing punk superstars PK14. When my absolute favorite Chinese punk band, Subs, released the deeply disappointing Queen of Fucking Everything last year, followed this year by a less-than-thrilling Honeyed and Killed from the once fabulous Hedgehog, I just assumed that punk in China had shot its wad. Apparently, it's just moved south to Shanghai.

This record is stripped down, extremely raw and in some ways every bit as surprising as Wire's Pink Flag (songs range in length from the 52 second "Christmas" to the nearly five-minute long "My body is not a wonderland"). I suspect it'll convince at least a few of the more cynical of you out there that, in fact, "punk's not dead." Get it here.


Listen to "Cloud Nine"

* * *

Zee Avi
Ghostbird
Released August 23, 2011
This is the only record (other than the Deerhoof) that actually, so far as I know, has legs here in the U.S. In fact, you're more likely to know more about her than I do, as I only recently stumbled onto this record, wholly by accident, while scrolling through the music blog Chinese Music Collection. (Yes, I know she's Malaysian; thanks.) I don't know what her record was doing on that blog, but there it was, and I'm rather happy to have it, although I have no idea if I'll still be listening to it in another week or two; it's already starting to feel ickily like any number of earnest American or British neo-folkers whose work I have strenuously attempted to avoid for the last several years.

That said, I do love "Siboh Kitak Nangis" and "The Book of Morris Johnson," neither of which I can imagine getting tired of any time soon. Get it here.


Listen to "The Book of Morris Johnson"

* * *

Guitar Wolf
Spacebattleshiplove
Released, golly ... sometime in 2011
This is a self-released album, recorded in Tokyo in 2010 and intended to be sold during Guitar Wolf's 2011 Hoochie Coochie Space Men North American tour. It is so ear-shreddingly raw, so super em effin' rockin', words simply can't describe how much I love it. How is it that, while 80s Japan rockers Shonen Knife have gotten increasingly self-consciously cute, Guitar Wolf has just gotten more fucked-up and awesome? Don't get me wrong; I love both bands. But GW has no right to be this full of energy, this rockin', this far into their career. For one thing, it isn't fair to everyone else. For another, it's just confusing. 

Get it here.


Listen to "Hoochie Coochie Spaceman"

* * *

Da Bang
Bone Hug

Released October 1, 2011

I'm seriously running out of steam here, so don't expect a lot of vivid description at this point. And, honestly, we're starting to get into "uneven" territory now. But the "end of year" convention demands 10 albums so, so help me god, that's what I'll deliver. I don't love everything on this record, but I love the stuff that sounds like super-jacked up 80s synth pop, especially "No-Hero-Days," which is as good as anything Big Sea Queen Shark has recorded, and "冰心" (which I'm assuming is about the famous Chinese writer of the same name).

Definitely worth a listen. Get it here.


Listen to "No-Hero-Days"

* * *

Juusho Futei Mushoku
JAKAJAAAAAN!!!!!
Released sometime in 2011
I love this band so much it hurts. That said, their follow-up to their 2010 debut isn't quite as mind-blowing, though it certainly has its moments. I really, really, really, really, really, really wish I could find the video they shot for "One Two Three"; it was insane. Alas, it appears to longer be on YouTube, perhaps owing to the fact that it wasn't, to be perfectly honest, exactly P.C. Or maybe I just lack the skills to find it again. (If you find it, for god's sake, please let me know.)

Get it here.

* * *

10cm
1.0
Released February 10, 2011
In truth? I don't love this album, but I think this band, which I'm pretty sure is a duo, from Korea, has potential. They can either go one of two ways: Slicker and less interesting, or more Jonathan Richman/Crowd Lu-like and awesome. Time, I suppose, will tell. I wouldn't have included it here except that (a) it does seem promising and (b) fairly different from most K-pop.

Get it here.


Listen to "King Star"

* * *

So, what do you think? And, more to the point, what are your own favorite albums of 2011? Post your list in the comments below, or, better yet, include a URL to your own blog, if you have one. (But, seriously, if your list includes Wilco or PJ Harvey, don't bother.)

Cuī Jiàn | Balls under the Red Flag

Listen to "Flying"

Listen to "Balls under the Red Flag"

Get it all here.

Found for a dollar in a Chinese-language bookstore in Flushing.

Ground-breaking Beijing art/punk rocker Cuī Jiàn has been recording since the mid-1980s. Considered the father of Chinese rock (he was the first mainlander to adapt Western-style pop), he actually started out with the Beijing Philharmonic Orchestra when he was 14 years old. His song "Nothing to My Name" became an anthem during the Tiananmen Square protests, despite his own protest that it was merely a love song--nothing more, nothing less.

His music is at times funky, experimental, slightly off-kilter--sort of like James Chance & The Contortions x Sonic Youth, though I don't think I've heard anything quite like at least some of the tracks on this CD. As the title would suggest (and yes, it means *those* balls), he often mocked China's communist past (and present), ultimately getting himself banned from airplay and major public performances until 2005. Recorded in 1994, "Balls under the Red Flag" is considered by many to be his masterpiece, one of, if not the greatest rock records ever recorded in China.

It's not out of the realm of possibility that he's single-handedly responsible for the current Beijing punk movement.

Read a long, detailed article on Cuī Jiàn here.

Read an interview with him here.

Great live version of "The Village Attacks the City" (song begins 2:10 into video):