The Nanfang / Blog

Shenzhen this weekend: live music, anniversary parties and more

Posted: 08/29/2013 4:26 pm

Shenzhen is getting set to close out August in style. Check out what’s happening this weekend:

August 29th-30th – L A X Bar 1st Anniversary Party – Win a RMB3,000 Wine card, trip to Disneyland, and free champagne with an RMB1,000 purchase for the night. 8:00PM-4:00AM

Club LAX will have it’s 1st anniversary party.

August 29th-31st – International Beverage Exposition and Competition (IBEC) – IBEC is one of the highest quality and most professional beverage shows in China. Meet suppliers and try products. (All Day Event)

August 30th – Stabil Elite LIVE @ B10. The German New Wave Band – STABIL ELITE Tour in Shenzhen, China. Friday 8:30PM-11:00PM

August 30th – Lone I Club Opening Party – 2 free cocktails or glasses of champagne. 8:00PM-4:00AM

August 31st – Ailand – A House and Trance Musical Journey 10:00PM-6:00PM

 

August 31st – Fresh Presents: Back to School Block Party – Come celebrate the birth of Hip Hop music at an outdoor block party in a public plaza in Dongmen. 6:00PM-2:00AM Jesse has let us know that this has been postponed until a later date.

August 31st – Chinese Folk Songs Concert – A concert featuring Chinese folk songs composed by renowned songwriter Wang Luobin (1913-1996) will be held Aug. 31 in Shenzhen. 8:00PM-10:30PM

September 1st – Ultimate Frisbee @ Happy Valley Park – 2:30-6:00PM Hosted weekly by the ShenZhen Ultimate Players Association

If you attend any of these events, please email me at [email protected] and we may include some of your review in a future post. Let’s keep your event organizers working to provide better and better events!

(Editor’s Note: We’re looking for dining and nightlife writers in Guangzhou and Dongguan. If you’re interested, please get in touch with us at [email protected])

Haohao

Shenzhen Blues and Folk Festival is underway, packed lineup until June 9

Posted: 06/6/2013 9:35 am

The 2nd Annual SZLM Blues and Folk Festival is underway after a huge opening last night. This year’s festival is aptly named “The Pearl River Delta Sessions” in homage to the Mississippi River Delta area where the Blues music and culture were born. Though miles away from the United States, this five night, four venue and 20 band music festival shares a similar tone with those muddy-bottom Blues.

Shenzhen is a 21st century melting pot with a variety of races and nationalities all finding a way to make it. Like early 20th century America, Shenzhen residents are learning to live together, work together and grow together, and from this a music culture has taken root.

Many venues in Shenzhen are now taking a chance on local artists and opening their doors to talented Shenzhen musicians. The Shenzhen Local Music Blues and Folk Festival, which is set to run until June 9, is the culmination of this community effort to provide a platform for musical expression and connection.

Last night the festival kicked off with well-traveled and seasoned folk music veteran Gary Hurlstone at Brown Sugar Jar. Hurlstone presented the history of folk music through short films, pictures, stories of his travels around the world and within China, and also performed a few original songs. Following his lead, tonight at Frankie’s American Bar, Chicago born and raised Blues man Corey D. Abrams is presenting the history of Blues music and performing a few original songs. Phoning in on Skype around 9:45pm will be Bobby Taylor, the man responsible for finding and promoting many world-famous acts, such as the Jackson 5 and Whitney Houston. This is definitely a Skype call you don’t want to miss.

This weekend, Coco Park venues Rapscallions Café Bar and La Casa will host more than 15 bands including one Guangzhou solo artist, one Zhuhai Blues veteran and Hong Kong French gypsy folk band, Les Gromechkos.

For full listings of the festival events, check out Shenzhen’s #1 source for live music, shenzhenlocalmusic.com.

See you at the festival!

Haohao

Seasonal English teaching program makes big contribution to Shenzhen’s music scene

Posted: 04/26/2013 1:00 pm

Chances are that if you live in Shenzhen and you are an expat, you will have come across someone from CTLC. Perhaps it was the over-enthusiastic crowd of youthful-looking Americans in Coco Park or maybe it was that earnest backpack-wearing laowai conversing seriously, phrasebook in hand, with a corner store attendant in the outer districts of the city.

CTLC stands for the Center for Teaching and Learning in China. It is a teaching program that places foreign teachers in Shenzhen public schools. It began in 1998 with a group of 13 teachers who came out to Shenzhen as part of a work/study semester abroad trip with the University of Memphis. A bit later, it expanded to 50 teachers and a coordinator to look after them. Not long after that, it absolutely exploded.

There was a time (accounts vary, but let’s say about 2008/2009 to be sweepingly general) that if you stumbled across a foreigner in Shenzhen there was almost a 50/50 chance they were from CTLC. They were everywhere. Now that there are more foreigners in Shenzhen, CTLC doesn’t have quite the monopoly on foreigners it once did; but even in its current incarnation it still has a very big footprint. Aside from teaching, the one area CTLC has had a massive impact is the local music scene. Venues like Rapscallions, McCawley’s, La Casa and Frankie’s all owe a great debt to CTLC and continue to feel the program’s presence when it comes to acts playing and audiences coming to see them. La Casa was one of the first places to start up with open mics, closely followed by Rapscallions when it opened in 2011.

To my mind at least, 2011/2012 was something of a breakthrough year for local music in Shenzhen, largely due to timing, the talent, and availability of artists. CTLC was definitely a vanguard of that sea change, mostly due to the sheer size of the program and the kind of talent that comes along with it.

Not long after the program relocates to Shenzhen (August each year) you start finding more and more of the program’s members turning up both on and off stage at open-mic nights. Moreover, CTLC acts as one big social network, so the sheer amount of bodies the program can pack into a room iis a welcome boost to any venue. To be honest, it’s probably a key factor in why so many venues started doing things in such a short space of time. Musicians + alcohol + large audience support, will always = happy venues.

Essentially, CTLC works because it has a wide-range of talent ripe for cherry-picking by Shenzhen musicians already on the scene. In 2011, a certain threshold was reached, and the scene has never looked back. Current local bands like BRUE, The Friendly Cannons and InFuze each have their fair share of CTLC members, and there are other bands who’ve already come and gone.

At the heart of this is the familiar rhythms of expat life that many expats will recognise. CTLC is a year-long program. Many teachers stay for more, but most do not. In terms of the musical scene in Shenzhen, CTLC’s best feature is also its worst. Year after year incredibly talented musicians turn up, but year after year they also leave. It’s the nature of the beast, and there is something almost heartbreakingly profound in it. As someone who has lived in Shenzhen both within and without CTLC I can say the only thing to do is make the most of it while it lasts, whilst simultaneously holding fast to the knowledge that something else equally unique – though very different – is just coming into view over the horizon.

In short, the local music scene in Shenzhen, aided in no small part by the CTLC program, has never been in better health. You should go enjoy it in its current incarnation while it lasts, as this time next year it will be a very different creature altogether.

More info on the local music scene at shenzhenlocalmusic.com 

Haohao

The golden age is over but Guangzhou still best city in China to be a musician

Posted: 04/18/2013 7:00 am

A performer on Zhonghua Square, which Zhu Desong frequently visits.

A nationally respected musician has told Southern Metropolis Daily that Guangzhou is the best city in China in which to be a musician. Zhu Desong, who helped launch the careers of such megastars as Jay Chou and Luo Dayou, pointed to the talent and diversity of Guangzhou’s street performers as an example of the quality of the city’s music scene. However, he lamented that the city had lost its status as the capital of original music to Beijing over the past decade or so.

Zhu, a descendant of Song Dynasty scholar and poet Zhu Xi, is a singer, songwriter, producer and manager who came to Guangzhou in 1988 after being offered a job by the Pacific Audio and Visual Company.

When Zhu came to Guangzhou, the influx of migrant workers was at its most rapid and his career as a producer rode the wave of vibrancy of Guangzhou in the 90s. Stars whose music he has produced include Song Zuying and Na Ying.

During what Zhu calls the Golden Age of the Guangzhou music scene, there were monthly Original Music Appreciation Gatherings, and there would be awards for best original song of the month, season, and year. Local television and radio would help musicians promote their original songs, but Zhu thinks these media have since bowed to commercial pressure.

However, Zhu still uses his considerable influence to support the city’s street performers. He co-organized the concert “游唱侠英雄会” which roughly translates as Heroic Traveling Artists which was held in Wuhan and Lijiang as well as Guangzhou. The concert brought in a total revenue of 100,000 RMB.

A performer on the subway. Many of the city’s street performers rely on it as a livelihood.

He often stops and listens to performers on footbridges, street corners and in underpasses. Their music varies in quality, he says. Some do it just for recreational purposes, others do it for a living. The ones who do it for a living may struggle initially, but Zhu insists that if they work hard they can have a good life in Guangzhou. All of Zhu’s musician friends own houses and cars.

Zhu attributes Guangzhou’s loss of its status as the country’s original music capital to complacency and lack of investment. One particularly telling moment was the city’s failure to use the Asia Games to promote a song that could be as famous as “Beijing, Beijing.”

Despite Beijing having more opportunities for musicians, Zhu still thinks that Guangzhou is the friendliest, most pleasant and most open-minded city in China. He mentions with particular keenness the wide variety of restaurants that appear unremarkable from the outside but offer very special food.

Here is a video of probably the best known of Zhu’s songs: September 9.

Haohao

Shenzhen all set for city’s first ever Hip Hop Festival this weekend

Posted: 04/17/2013 10:00 am

A wise duo once said “Alright stop, collaborate and listen”, and while I may be pushing it a little by quoting Vanilla Ice in an article about a hip hop festival, I can’t think of a more applicable lyric for this city’s barrier breaking venture coming up this weekend.

The Hip Hop Festival, which is set to boom-shake-shake-shake the room this coming Saturday, is another example of a fusion between the local community and music – and this time with the added accompaniment of break dancing, graffiti art and DJing.

Show director and host Adrian Blackstock is pumped to get it started. “A big part of my job was organising the cultural direction of the show. It was important for us to incorporate all elements of hip hop – the graffiti, dance and products are equally as important as the rapping.”

This type of festival is a first for Shenzhen, and follows the successful Blues and Folk event, which is set to make a highly anticipated comeback this year. Despite the “tricky, tricky, tricky” task of pulling this all together (that’s the last one I promise) it seems the team are now focused on the performance ahead.

Adrian added, “We made the decision to do this in December and it’s been a real team effort, with everyone spit balling ideas from the start. I’m anxious but excited about making this happen. It will just be good to put on a show and see people enjoy themselves.”

And enjoy themselves they shall! Set in the beautiful F518 area of Bao Bao, the festival boasts superb musical talent from all over the world in addition to the involvement of local artists and businesses.

The event is being put on by Shenzhen Local Music, and is supported by The Nanfang. We’ll see you there!

Event details here.

Haohao

Guangzhou’s Underground Music: Bosi breaks barriers on hip hop scene

Posted: 03/21/2013 12:57 pm

When China opened its international markets in the early 1990s, new ideals flooded into the country, resulting in a new dawn where the lives of many youths have challenged the old mindsets and traditions of their culture.

One such person is ‘Bosi’, a local rapper.

In a land of Cantopop and drippy love ballads, Bosi is doing something different. “They look down upon rap or hip hop music because they don’t feel hip hop is a kind of music,” says Bosi, who refers to his parents’ opinion regarding his choice of music. “How come there is no melody? They don’t understand the culture and they don’t enjoy the music.”

Bosi is the product of the one-child policy where individuality is often overshadowed by a ‘parents know best’ mentality.

At 14, Bosi had his first taste of hip hop and rap. A friend had introduced him to the infamous Hong Kong band LMF (Lazy Mutha [email protected]#a). The band has been known for its vulgar, abrasive and no-holds-barred attitude regarding society’s injustices from poverty to government corruption.

LMF’s words resonated with the young Bosi.

Eight years later, he is at a place in his life where he must choose to continue honing his craft or abide by the demands of society. “Sometimes, once or twice, I want to give up. I can’t be famous. It’s useless. What do I get from it?”

Bosi’s world is filled with compromises from what he wears on the weekdays as he whiles away at an office to when he should produce his profanity-laced lyrics, knowing his parents’ ears are never far away.

Bosi’s parents prefer music that has rhythm, a beat and words that are easy to understand. His parents prefer Cantopop; it’s safe and marketable.

But Bosi prefers rap and hip hop which still remain underground in Guangzhou. His songs are hard, strong and filled with metaphors, aspirations and observations. In one of his recent songs, he paints a picture of a ship sailing: ‘Although far from the bay / We don’t need to be scared / After we cross the mist / We will see the light.’

At 25, Bosi knows too well that being a Chinese rapper is far different from being a Western one because it’s about having accomplished something. “Foreign rappers would say: I shoot you. Bang. Bang. Bang. Maybe he says that he’s a killer and then he becomes famous and gets rich. But in the Chinese culture, if you say that you’re strong and you say you will kill a person, the Chinese rappers will just say that you’re being fake and laugh at you.”

Bosi already considers himself a veteran in his genre. There are only a handful of good rappers in the city, yet there are lots of wannabe rappers. Many are teenagers who’ve been exposed to Bosi’s concerts. Yet when they’re challenged to pursue a certain lifestyle, many fade away. On the weekends, Bosi can be seen wearing his version of hip hop.

Still, Bosi strives to pierce through this underground world. For some, Bosi is building a platform for discussion. He recalls a time when his song resonated with one of his fans: “I played your song to a girl who later became my girlfriend. Sometimes, when we have arguments we play your songs. They keep us going. Without your songs, I don’t think we would have lasted.”

Such fans have indeed allowed Bosi to keep moving despite knowing that his family doesn’t enjoy his music and believes it’s useless and won’t earn him money. In a country where self-censorship and money are encouraged, giving up won’t make him happy.

“Writing a song is not difficult for me. The most difficult part is to write a song that will go straight to people’s hearts and to make them realize that what I’m saying is right,” he says.

You can listen to Bosi’s music on his Douban site: http://site.douban.com/bosi/

 

Haohao

Shenzhen singer-songwriter talks about her new album and experience of performing

Posted: 01/29/2013 7:00 am

A picture of Liang Ying from her Douban page

The owner of a local expat bar recently told this author that he would love to host live original music to encourage grassroots artists, but the market demand simply isn’t there. But some grassroots musicians persevere anyway. One of them is locally born post-80s girl Liang Ying.

Liang Ying kindly took the time to talk to The Nanfang last week about the new album she recorded with fellow alternative musician, Xiao Du, as well as talk about the experience of playing her esoteric music in front of Shenzhen audiences. The title of the album, which roughly translates as “It Is Unbearable to Meet As Well As to Part,” comes from a Tang Dynasty poem by Li Shangyin.

This poem forms the lyric of the album’s opening track, “Untitled.” Lasting almost six minutes and involving harmonies and intricate acoustic guitar playing, it is unlikely to be heard blasting out of any KTV rooms in the near future.

But after performing their songs at small venues around the country, the duo have built up a small following of devoted fans.

Although she has collaborated with foreigners, Liang insists that she got interested in alternative music at a very early age without their influence.

Although many of her lyrics come from ancient poems and 20th century “misty” poets such as Gu Cheng, some are more accessible and even conventional, such as those of “Come,” the third song on the album.

Liang and several fellow local grassroots musicians did briefly enjoy a mainstream audience in 2011 when they were invited to perform at Shenzhen Concert Hall tracks from their collaborative album “The Sound of Shenzhen.”

Although the artists enjoyed playing for an audience that was more attentive than what they are used to getting in bars, in order to get the gig, they had to remove the hard edges from their material. Songs that got the nod included “Life” by Wu Qiang, an ode to the singer’s toddler son.

Liang’s collaborator, Xiao Du, from Inner Mongolia.

When asked by The Nanfang whether Shenzhen would one day have an alternative music scene to rival that of Beijing, Liang said she thinks in 20 years Shenzhen will have more than it does now, but there are too many obstacles to achieving the goal of equalling Beijing.

Liang Ying and Xiao Du sell copies of their album for 50 yuan whenever they perform. Locations at which they frequently perform include C Union and Old Heaven Book Store in Nanshan District, and Brown Sugar Jar in Futian District.

Haohao

That’s a wrap for Shenzhen Fringe Fest, Mr. Magnus shares thoughts on local music

Posted: 12/4/2012 6:05 pm

The Fringe Festival concluded on Sunday in Shenzhen, the third time the 10-day festival has been held in the the city.

To wrap the event, The Nanfang sat down with Mr. Magnus, who performed at Fringe events organized by RealDeal, a local events company.  Mr. Magnus talked about why he’s in Shenzhen, what he thinks of the Fringe Festival, and how he’d characterize Shenzhen’s music scene.

Firstly, do you like to be referred to by your DJ title or real name?

I usually do not refer myself as a DJ as I am mostly do live remixes using computers and controllers mostly instead of spinning vinyls and CD’s, so I go under Mr. Magnus, my stage name.

How long have you been in China?

I arrived to Hong Kong in early 2009, and a bit more than a year later I relocated to Mainland China.

What brought you to Shenzhen, and do you like it?

I wanted to start performing and organizing in China to push electronic dance music forward.  As I am deeply in love with Hong Kong, Shenzhen was the closest and best option for me.  Anything is possible in Shenzhen, it’s a city that is just constantly growing and changing.

Mr. Magnus

How would you characterize Shenzhen’s music scene? 

Shenzhen’s music scene is very young, and mainly controlled by the bar/club owners and the “show” factor. It’s not about the music, it’s about “face”. But the locals and expats are starting to see more and more events with professional musicians and various unique electronic dance music. I have big hopes for the future, even though it might take some time.

What do you think of Shenzhen’s Fringe Festival?

I was happy to see something like this happening in Shenzhen, to showcase different performances and art to the public. It is needed.

What is special about the audience at Real Deal shows?

The passion and spirit of the crowd we usually have is the best part of the Real Deal parties. It gets us going to see all those people dancing and enjoying the music.

What do you hope the audience at the Fringe Festival got out of your set?

To see what a real dance music event is all about — not about sitting all night drinking and playing games.  It’s about dancing, the music and meeting people that share the same passion.

Can you summarize your background in music?

I got into music as a young child.  I learned music theory, singing, some instruments and (live) performing. At age 14 or 15 I started collecting Hi-Fi equipment and time synthesizers, which I shortly hooked up with a mixer. At age 18 I was out getting myself a set of turntables so I could DJ my own tunes.  After getting my new DJ gear I had a break, but have been focusing on DJing only now for the last 10 years. Just recently I have started to work with music production again.

Luckily I got the hang of DJing very fast and started to work with other music enthusiasts to create outdoor events such as raves in the forest, where we mostly dropped Psychedelic Trance until sunrise. Shortly afterwards we moved into the clubs and started to have international visitors from England, Germany, Spain, Holland and more.

Before leaving Sweden for Asia I managed to dig myself into the music scene in Germany and Holland, mainly the big stage events such as Trance Energy, Defqon and more. I was asked to perform at after-parties and pre-parties.  Sometimes the main events had between 10,000-35,000 people attending, so the after-parties were from time to time pretty big.

In 2009 I left Sweden for Hong Kong, where I took one step back in performing and focused more on supporting the local Hong Kong scene, like the clubs and the events. There are many skilled musicians and event organizers there and I was lucky to learn from some of the best such as DJ Frankie Lam, PUSH, Yumla and many more.

Going over to the China mainland scene was very different from the HK scene. With many big clubs there was a lot of potential but almost no focus on the music and no dance floor! I have been working hard these last few years in the mainland to push this scene into Shenzhen by creating events and by only playing proper electronic dance music.

I started with events under the name “PLAY” at Plush Bar in Coco Park. I managed several successful events where I started building a crowd of dedicated music lovers.
Since then there has been a huge amount of events, organized by me or other skilled organizers already located in Shenzhen. “Beats of Mass Destruction”, “Techno Techno Techno!”, “Techy Techy” were some of the events created, mainly to push out the electronic dance music, especially Techno, Minimal, Tech-Deep House and more, and I invited local DJ’s to perform for a wider range of style and music genres.

Early in 2012 “it’s The Real Deal Inc” came to life, created together with a couple of friends who were also tired with the club scene, which was still not providing proper electronic dance music and dance floors. Even with the effort from before, the local Electronic Dance Music scene was not big enough to make any real impact; it really took off once we dropped our first “Real Deal” party. It was amazing to see so many people attending our parties, even though it’s sometimes tricky to get to the various outdoor locations.

Which venues do you usually go to?

At this moment I am performing strictly at our own “Real Deal” events, as I am kind of picky with what venues I like to perform at. A good venue has a good dance floor and a great ambiance.  But now it’s the end of the year so I am looking forward to taking some time to perform in some of the hottest clubs in Shenzhen and greater China.

What kind of music do you like to play, and what’s your inspiration?

I like music that makes my body move, music that makes the crowd get into the spirit of good music and loving vibes. My music comes from European Techno, House and Trance and my remixes/live performances are about creating something new by remixing music that contains something special like a good baseline, melody or just a good flow that I wish to remix with something else.

What do you want to accomplish in future Real Deal shows?

In one way I think we already accomplished a lot, but what I would love to see in the future is for us to keep going on with our events and let more people in China know what the Real Deal is all about, what real dance music events are all about and hopefully influence the clubs to see what’s missing in China at this moment.

More Information:

Haohao

What’s the key ingredient to a timeless song?

Posted: 06/29/2012 11:24 am

(from maniadb.com)

This isn’t about a subject specific to the Shenzhen Local Music scene, but it’s certainly at the front of every musicians mind: What does it take? What’s the key ingredient to writing songs that blow people away…and continue to do so decades after they’re recorded?

Is it melody, groove, lyrics, voice, luck or what? Recently departed Elliott Kettler argued that every great band in the history of music wrote all of their mind-blowing music in the midst of their drug haze. He’s adamant that drugs push a musician into the next realm. Other people believe the best music comes from tortured souls; people like Ray Lemontagne or Tom Waits.

Whatever it is, we’ve all experienced it. We throw on a track with little to no expectation and by the 2:00 minute mark we’re caught trying to justify the steady flow of tears fighting their way to our cheeks and searching the cracks between the walls which we hide between in the attempt to understand. Why…why does this particular song take a hold of my soul and, as my best friend Thadd puts it, “pull on my heart-strings”? For me, one song that has this effect every time is “Helplessly Hoping” by Crosby, Stills and Nash.

Look at the play on words of the verse:

They are one person,

they are two alone,

they are three together

they are four, each other

and the metaphor in the line:

Love isn’t lying it’s

loose in a lady who lingers,

saying she is lost and

choking on hello

In this particular song they touch on all that is beautiful about connecting ideas, memories, and emotion with notes; creating a story through combining these tones in an order, then coupling with lyrics and driving it home with dynamic.

Notice how the finger picking by Steven Stills creates the feeling of movement, walking,  maybe raindrops and a steady flow forward, the emotion in Crosby’s vocal control (left earphone) provides stability and comfort while Nash’s trembling high harmony causes tension, making us feel so fragile, as though we could break in pieces with just a breath (right earphone).

And the music structure perfectly complements the lyrics. Minor chords usually evoke sad feelings while major chords make us feel happy (to put it simply). See how C.S.& N. craft their story around these emotions. It’s art. It’s honesty, and it chokes me up every time.

Take a look:

(Image from DiscoveryChannel.com)

The verse ends with, “Only to trip at the sound of goodbye…”  Devastating; real; painful… Life.

Maybe some of you reading this have never heard of Crosby, Stills and Nash and weren’t aware this song existed. Doesn’t matter. Discovery is half the fun. Surely after listening you’ll understand why I feel inspired to share this beauty with you.

Regardless of your flavor in music, great songs all have something in common. They all are a meaningful combination of music, lyrics, emotion and the culmination of a soul’s life at the time of composition. It’s hard to be yourself…but I think that this is really the key ingredient.

Rue Moyer is the founder of popular local music site Shenzhen Local Music.  He contributes a column on the music scene in the Pearl River Delta to The Nanfang each week.

Haohao

New Sounds of China Episode 5: Ethnicity and Music

Posted: 09/11/2011 8:00 am

Hanggai, featured in episode 5

New Sounds of China is back for its final installment today, titled Ethnicity and Music. Paul Kendall and Hu Pan take is on a journey once again, this time to the far musical reaches of the country. Here’s the description of what you’re about to hear:

Our final episode addresses the controversial matter of ethnicity and music in China. We question the portrayal of China as a homogenous nation, by playing modern tracks inspired by the traditions of the country’s many ethnic minorities. At the same time, just to be difficult, we counter the easy assumption that only minorities possess folk music, by playing tracks rooted in the traditions of the majority Han Chinese, including the work chants of Yangtze river boatmen sampled by Cui Jian, the godfather of Chinese rock.

Interviewees include: Rachel Harris, an academic expert in Chinese (particularly Xinjiang) music from the School of Oriental and African Studies; and Hanggai, a throat-singing collection of Mongolians and Han Chinese currently making their name on the world music circuit.

You can listen to Episode 5 here, and find past episodes of New Sounds of China here.

 

Haohao
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