It is a rock band that was formed in 1999 and is still active to this day. Because it was founded in northeast China, it has a strong local culture.
Suona, Guzheng, Allegro, Pipa, Matouqin… Their use of Chinese folk music is very rich. “Durenzhuo”, folk art which is definitely out of the range of the trend of young people today, has miraculously shaped the unique face of second-hand rose in the Chinese rock music circle with its own turning tone after being picked up on the rock express train.
For me:
- Incorporation of traditional Chinese instruments into a rock setting.
- Maybe I could choose something melodic. (Guzheng, Pipa)
They have succeeded in this respect, and the original texture of rock and roll has not been destroyed. In addition, he added local instruments from northern China to make his band more stylish. It broke my perception of rock and roll and made it more three-dimensional.
Xie Zhongqi, a.k.a. Wolfenstein, is a sound artist, computer music composer, and the member of Taipei Sound Unit. He received awards in BIAS Sound Art Exhibition and Sound Art Prize in the Digital Art Awards Taipei in 2006 and later released his debut album Napoleon’s Kef in 2009. His lately live recording is included in a split album Cyplosion, with the Chinese sound artist Wang Changcun, released by Kandala Records in 2015.
https://www.cafeoto.co.uk/artists/xie-zhongqi/
“hongqi Xie’s music often combine human voice morphing with detail electronic sound. From deepest and lowest beat to offensive hi-frequency sound line, he draws an electronic but also poetic picture for our ears.”
This is the work I want to talk about. The combination of the human voice and the electronic sound effects is very much like the sound of a malfunction that has inspired me a lot.
I wrote earlier in the draft that I wanted to make a sound effect that was like coming from a radio or radio. If the sound of the fault is added to it, it can make the whole work more story-like and have a sense of the past. It can also make the whole work sound richer.
This song is music by Samson Young and performed by Olivia De Prato.
Taking a whole piece apart and adding some sound effects in the middle does not make it incomplete. On the contrary, it makes the music sound more interesting. This one is very similar to hongqi Xie’s work but not quite the same. hongqi Xie also incorporates electronic sounds, but people can’t hear the original melody, but this one retains the melody to a certain extent.
Although it draws—moderately—on modern techniques of juxtaposition and disruption, Streya retains a lyrical continuity underscored by a dramatic use of dynamics. Sampled keyboards, organs, voices, and strings “drenched in delay and distortion” provide the pre-recorded accompaniment to the solo violin part. Slithering glissandi begin the work, interspersed with quick scale bursts.
https://www.newfocusrecordings.com/catalogue/olivia-de-prato-streya/