At the end of our review of the Beijing Festival weekend, we referenced an article that we read over at Beijing Noise that they in turn had pulled from Max-Leonhard on his excellent Rock in China archive. In it, Max rails against the continuous representation in the Western media that D22 and Maybe Mars ARE the Beijing music scene: that there are plenty of other niches/ groups/ posses that are equally deserving of the hype, but that they are hamstrung in terms of promotion to Western media due to a lack of English.
We were going to pull out comments, but you really need to read the whole article HERE.
In their defense, Matthew Niederhauser responded. Matthew was intimately involved with the seminal Maybe Mars tour of the US last November and much of the PR/ Media attention that surrounded it. The tour coincided with the launch of his book Sound Kapital, which documents the rise of the new Chinese independent scene through photos shot at the D22 venue (interview HERE). We thought the comment deserved to be more than just a footnote to another article. We reprise it in its entirety below.
To get our own viewpoint across (because you just know we like to do that!!), we believe that there is merit in both sides of the argument. The Maybe Mars bands do indeed get a disproportionate amount of attention in the foreign press, and that is in part to do with the Westerners involved in their scene and their understanding of what the West likes and what Western media reacts well to. Other Chinese bands/ labels/ collectives perhaps suffer in this respect due to their lack of experience and language. Conversely though, this should give the Chinese bands a huge advantage in the Chinese media (OK, we know that Chinese media doesn’t report on “stories” per se, but there should be advantages to the Chinese factions online/ in media/ face to face).
The fact is, Maybe Mars have constructed something powerful. Whichever way you look at it, they have built a stable of hardworking, intelligent band, supported by hardworking, intelligent management. Just because they are having a modicum of success (isn’t that great for Chinese indie music??) doesn’t mean we have to fall into the trap of “tall poppy syndrome”. You may not like their music or their look or their success, but that’s what makes music so great – people are going to disagree, have their favorites and be driven to support those favorites. Matthew loves D-22, Max’s wiki has a most definitely metal bent and Midi love Miserable Faith (hence they swept the Midi Awards last year). We are all responsible for pushing the music that we love and believe in – it has always been so, and will always be. And hey, it’s not like anyone is making any money out of this yet, ripping off the bands, and generally behaving badly (oh, wait!). The very fact we are having this debate is a good thing. More please!! So without further ado, Matthew’s response:
I just dropped a bomb over on Beijing Noise concerning these rants. Hopefully he posts it despite my expletives. I am reposting here in case he declines my comment and since you guys call it a great article.
Luke & Max,
So, since Max wanted to be, “a little controversial,” with his article, I thought I might bring an experienced but irreverent tone to this dialogue.
To begin, did you fucking idiots even look at Sound Kapital? Do not label my work as superficial publicity for D-22 and Maybe Mars. There are over 120 different performers from the electronic, punk, folk, rock, psychobilly and experimental scenes in the book taken from Yugongyishan, MAO Livehouse, D-22, and 2 Kolegas over the past three years. See the end of this post for the full list. Yes, I know I decided to take all the portraits in the D-22 office, but it was for very specific reasons and not due to your spurious suggestions that I was trying to blindly promote one section of the China music scene. First of all, aside from being a live music fiend, I am a professional photographer. That red wall looks awesome. I love taking photos of people against it. Second of all, I wanted everybody in the same place so that people could see a connection between the musicians. Third of all, PRACTICALLY EVERY FUCKING BAND IN CHINA GOES THROUGH D-22. Nevin Domer is one of the best bookers in China, hands down. He brings in bands from Tianjin, Nanjing, Guangzhou, Xi’an, Wuhan and Shanghai to name a few, aside from an already excellent mix of performers in Beijing. D-22 is not a simple grandstand for Maybe Mars bands. Where else can you get experimental music on Tuesdays, up-and-coming university bands of all genres on Wednesdays, a mix of rock/punk/metal/emo-fallout bands from all over China on Thursdays, Fridays, and Saturdays, and then mellow out to one of the best folk series in the city on Sundays? Programming at other venues definitely tops D-22 here and there, but D-22 consistently pushes the envelope. Do you think I had to drag all 120+ performers up to D-22 to take those photos? No. They were all playing there in there first place. (Actually, I did have to drag New Pants up there, but that is a different story.)
Also, since it seems like you guys didn’t take the time, read the introduction to Sound Kapital. Yes, I know I mention my first experience at D-22 in the first paragraph (the band that blew me away that night was actually the Subs), but it is not a facile accolade to Maybe Mars. I tried to be balanced and look at the emergence of alternative music in China as a social phenomenon, not as some one-trick pony performing for a media circus. Moreover, I know I did not cover the Club 13 scene or the hip hop scene. Quick frankly it was too big of a chunk for me to try to handle at once, and instead I tried to focus on the bands playing at Yugongyishan, MAO Livehouse, D-22, and 2 Kolegas – performers who I feel are really pushing in new directions. In my humble opinion, if there is any music scene in the city that is extremely derivative, it is the metal/screamo/numetal scene (except for Voodoo Kungfu because they kick ass).
Finally, a few respones to Max’s incoherent rant. You sound like a bipolar dyslexic. Don’t call for the downfall of those who are hyped, and then backpedal with a “statement of clarification” complimenting D-22. You make no sense. Also, you lost all credit with me at the beginning when you said that Carsick Cars, the Gar, Snapline and White all sound the same. Do you even listen to these bands? Also, the main reason there has been so much international press these past six months is due to the fallout of the conjunction of the Maybe Mars China Showcase USA Tour and the release of Sound Kapital. Charles Saliba and I busted our asses in the media, and it paid off. Lots of people came to the concerts, and the book was well received as a glimpse into the Beijing music scene. Modern Sky had a chance before with the Sing for China Tour, but they didn’t get the publicity together even though they had a strong lineup. I can’t help it if other labels don’t have the right contacts (or just don’t know what the fuck they are doing) and if some of the journalists didn’t do enough research. I would have severely edited a lot of those articles if I had the power. Also, Bloomberg means nothing and stop citing that shitty Washington Post article from 2006. Furthermore, journalists go to Michael LoJudice at Modern Sky, Doro at Yugongyishan and Matthew Kagler at Tag Team, aside from many others, all who speak great English. In fact, I personally sent a lot of journalists in those directions. There is no “single point of entry.” Quite frankly I don’t have the time to go through the numerous holes riddled throughout this article. It could be broken apart paragraph by paragraph. Also, if you want to talk shit about Carsick Cars and political undertones, look at the fucking new album. It’s called, “You Can Listen, You Can Talk.” There have been problems with free speech and media in China for awhile now. Get it? Also, Shou Wang of Carsick Cars, Yang Haisong of P.K. 14, Bian Yuan of Joyside, Chen Xi of Snapline and Spike of Demerit don’t like to open up to loudmouths and meddling journalists when it comes to politics. Read their lyrics and then engage them personally if you want to hear about it. They are intelligent and well-spoken individuals.
In the end, I think this argument is pointless and Max’s article petty and useless. Yes, there is a lot of music in Beijing and around China that hasn’t been highlighted and discovered. Isn’t that exciting at the same time? Please show us! There are much more worthwhile ways to promote music in China and highlight its diversity and ingenuity than taking unfounded potshots at the current success of others. If you look at my old China Music Radar interview, the one thing I stressed at the end is that the alternative music scene in China definitely needs a good kick in the ass and some new blood. May bands spring forth across China’s interior! Letting a hundred flowers blossom and a hundred schools of thought contend is the policy for promoting progress in the arts!
Word Up,
Matthew NiederhauserPS. Sorry for the snarky tone. I am actually a rather mellow guy.