With an impressive catalogue spanning neo-folk through cinematic post-rock, Baishui has established himself as a unique figure in the Chinese indie music scene. An open-minded artist, he is inspired by genres ranging from modern jazz to progressive-rock and minimal electronic, going far beyond the Southwestern-Chinese-balladeer of his early years. A Travel Book, his 2011 release, was his first foray into experimental instrumental music, and his latest work, City of Lost, continues on that path, fully shedding his neo-folk identity, and cultivating new musical territory.
Each movement of City of Lost is connected by an overall progressive-rock texture which retains, at its core, Eastern musical themes that span beyond his native China into India and the Middle East. Though different musical threads are woven through the various pieces on the album, they remain, in essence, instantly recognisable as products of the unique musical mind of Baishui.
While certainly more challenging than Baishui’s previous work, City of Lost showcases an essential element of his previous work: the ability to speak to listeners of various backgrounds with music that seems unfamiliar. Indeed, by employing instrumental music rather than, as he has in the past, singing in his own local Sichuanese dialect, City of Lost truly transcends language, speaking even more directly to the listener.
music by baishui
all instruments and sound by baishui
with luo keju bass for part.1,2,4,5
with chen ran drums for part.1,4,5
with gudao guitar for prat.1,5
The no-wave titan/experimental composer and one of the most inventive groups to come out of '90s indie rock make delightfully cacophonous collaborations together. Bandcamp Album of the Day Nov 30, 2016