Monthly Archives: December 2015

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The 16th floor的小站 （豆瓣音乐人）

jingweir:

The 16th floor:

New post-rock outfit from Tianjin, China.

They will be playing January 23rd at DDC in Beijing with Glow Curve, Social Boar and Macando.

I wonder if The 16th Floor and 16 mins have ever played together… =D

Anyway, they have 2 songs to hear at douban, and a nice live photo set. Looks like 2 guys (gtr/drums) and a girl on bass.

The 16th floor的小站
（豆瓣音乐人）

by

The 16th floor的小站 （豆瓣音乐人）

jingweir:

The 16th floor:

New post-rock outfit from Tianjin, China.

They will be playing January 23rd at DDC in Beijing with Glow Curve, Social Boar and Macando.

I wonder if The 16th Floor and 16 mins have ever played together… =D

Anyway, they have 2 songs to hear at douban, and a nice live photo set. Looks like 2 guys (gtr/drums) and a girl on bass.

The 16th floor的小站
（豆瓣音乐人）

Image by

1724:

musiccrossaura:

I’m surprised that more people I know aren’t into post-rock. It’s such a unique genre yet I can’t help but feel like eyes start rolling when I mention its name. Maybe it’s the “post” part. I suppose I mocked it at some point in my life, too. Well, maybe just towards post-experimental. As a friend of mine once said, “What the hell is post-experimental, anyways? That doesn’t make sense! Nothing is post-experimental! The genre is the result of your experiment!”

Err, anyways. I was itching for something in the genre after being left somewhat dissatisfied with 65daysofstatic’s Wild Light album last year, so I went browsing around hoping I’d fine something neat. I ended up stumbling upon Summer Fades Away, an instrumental/post-rock band from China. They have little information to their name (the only sites I found really are their Facebook page that’s grossly underfilled and the bandcamp page for their label) and their official site is down. Leaving me with nothing to go on, I went into their first album, We Meet the Last Time, Then Departure, with no expectations and ended up pretty damn surprised.

We Meet the Last Time, Then Departure features pretty much what you’d expect out of a post-rock album. Slow and dramatic builds to intense, emotional crescendos of wailing guitars and instruments stacked on top of each other. It’s a genre I feel, to me at least, is solely about conveying a very specific mood: chaos. Be it through near-cacophony levels of sound or minimalist compositions, the way the music is structured always feels chaotic. This album is different, though. I get a sense of chaos, sure, but it’s so… grim. And not in a horrible way, I mean in a… like a really tense, unsettling horror film kind of way.

I mean, the lonely sound of the music box at the start of “Flower Mio” and the guitar and flute that follow… both are played with such a grim tone, even if the notes themselves aren’t particularly sad. It gives me chills in an discomforting way. It kind of feels like flashes of Akira Yamaoka, in a way. The sense of unease I get out of his soundtracks is what I get out of We Meet the Last Time, Then Departure.

It’s beautiful music, for sure. The entire album is superb from start to finish. I can’t speak for whether or not it will have the same effect on you but it’s an approachable and engaging album. If anything, it’ll at least settle some kind of mood in you, and music that does that is really fuckin’ cool. I’ve been going back to it a lot for how much it sinks into my skin when I have it on.

Bandcamp link to “Love Song”, the first track off the album.

http://bandcamp.com/EmbeddedPlayer/album=2242864029/size=large/bgcol=333333/linkcol=fe7eaf/artwork=small/transparent=true/

You can purchase We Meet the Last Time, Then Departure here.

Nice review about one of our bands Summer Fades Away,thanks!

1724 Records is now on the big tumblr!  =D

Image by

1724:

musiccrossaura:

I’m surprised that more people I know aren’t into post-rock. It’s such a unique genre yet I can’t help but feel like eyes start rolling when I mention its name. Maybe it’s the “post” part. I suppose I mocked it at some point in my life, too. Well, maybe just towards post-experimental. As a friend of mine once said, “What the hell is post-experimental, anyways? That doesn’t make sense! Nothing is post-experimental! The genre is the result of your experiment!”

Err, anyways. I was itching for something in the genre after being left somewhat dissatisfied with 65daysofstatic’s Wild Light album last year, so I went browsing around hoping I’d fine something neat. I ended up stumbling upon Summer Fades Away, an instrumental/post-rock band from China. They have little information to their name (the only sites I found really are their Facebook page that’s grossly underfilled and the bandcamp page for their label) and their official site is down. Leaving me with nothing to go on, I went into their first album, We Meet the Last Time, Then Departure, with no expectations and ended up pretty damn surprised.

We Meet the Last Time, Then Departure features pretty much what you’d expect out of a post-rock album. Slow and dramatic builds to intense, emotional crescendos of wailing guitars and instruments stacked on top of each other. It’s a genre I feel, to me at least, is solely about conveying a very specific mood: chaos. Be it through near-cacophony levels of sound or minimalist compositions, the way the music is structured always feels chaotic. This album is different, though. I get a sense of chaos, sure, but it’s so… grim. And not in a horrible way, I mean in a… like a really tense, unsettling horror film kind of way.

I mean, the lonely sound of the music box at the start of “Flower Mio” and the guitar and flute that follow… both are played with such a grim tone, even if the notes themselves aren’t particularly sad. It gives me chills in an discomforting way. It kind of feels like flashes of Akira Yamaoka, in a way. The sense of unease I get out of his soundtracks is what I get out of We Meet the Last Time, Then Departure.

It’s beautiful music, for sure. The entire album is superb from start to finish. I can’t speak for whether or not it will have the same effect on you but it’s an approachable and engaging album. If anything, it’ll at least settle some kind of mood in you, and music that does that is really fuckin’ cool. I’ve been going back to it a lot for how much it sinks into my skin when I have it on.

Bandcamp link to “Love Song”, the first track off the album.

http://bandcamp.com/EmbeddedPlayer/album=2242864029/size=large/bgcol=333333/linkcol=fe7eaf/artwork=small/transparent=true/

You can purchase We Meet the Last Time, Then Departure here.

Nice review about one of our bands Summer Fades Away,thanks!

1724 Records is now on the big tumblr!  =D

Video by

俞心嵐 Wing covering a Wan Fang 萬芳 song.  =D  

According to mojim lyric site, the song was written by Wang Zhongyan 王中言 (lyrics) and Wu Bai (music)

Here is Wan Fang’s version:

If you do a search on the song, Wu Bai and China Blue have also recorded it and play it live.  

(Source: https://www.youtube.com/)
Video by

俞心嵐 Wing covering a Wan Fang 萬芳 song.  =D  

According to mojim lyric site, the song was written by Wang Zhongyan 王中言 (lyrics) and Wu Bai (music)

Here is Wan Fang’s version:

If you do a search on the song, Wu Bai and China Blue have also recorded it and play it live.  

(Source: https://www.youtube.com/)
Video by

Singaporean Cherie Ko has done a number of projects over the years, including the ‘bedroom pop’ solo Pastelpower. She decided to release a compilation of every song she’s done under that name, and kinda close out the project with a bang: getting a bunch of musician friends to play

Singapore Inside Out on December 2nd.

TodayOnline has a big feature interview with Cherie, her ongoing and new projects. Very informative!

About the band in the clip: 

While most of her Pastelpower shows feature only Ko and her keyboards, for this show, Ko has roped in four other musicians to accompany her: Jean Low, the lead singer of local band Giants Must Fall, who collaborated with Ko in the Ferry x Cherie music projects this year; Rachel Tan, singer of Lost Weekend; Melina Kymmie, the singer with The Great White Lark and singer-songwriter Joanne Goh.

You can listen/purchase the Pastelpower Farewell Cruel World compilation over at bandcamp. Lots of cute songs!  =D  And follow the clip back to yt to see the rest of the set from Dec. 2nd.

(Source: https://www.youtube.com/)
Video by

Singaporean Cherie Ko has done a number of projects over the years, including the ‘bedroom pop’ solo Pastelpower. She decided to release a compilation of every song she’s done under that name, and kinda close out the project with a bang: getting a bunch of musician friends to play

Singapore Inside Out on December 2nd.

TodayOnline has a big feature interview with Cherie, her ongoing and new projects. Very informative!

About the band in the clip: 

While most of her Pastelpower shows feature only Ko and her keyboards, for this show, Ko has roped in four other musicians to accompany her: Jean Low, the lead singer of local band Giants Must Fall, who collaborated with Ko in the Ferry x Cherie music projects this year; Rachel Tan, singer of Lost Weekend; Melina Kymmie, the singer with The Great White Lark and singer-songwriter Joanne Goh.

You can listen/purchase the Pastelpower Farewell Cruel World compilation over at bandcamp. Lots of cute songs!  =D  And follow the clip back to yt to see the rest of the set from Dec. 2nd.

(Source: https://www.youtube.com/)