For over 15 years, P.K. 14 have been spreading their own thoughtful take on post-punk. In that same time, frontman Yang Haisong has become one of the most important names in modern Chinese rock, inspiring and shaping China’s indie music scene along the way. Yet instead of getting comfortable, his band’s recently released sixth album, Music for an Exhibition, made an unexpected detour into the experimental.
“Basically the show is a soundtrack to an exhibition by the artist Sun Qiuchen,” explains frontman Yang Haisong. “The concept was that we would write four new songs, make a live recording and then release it all as a double LP. There’s a song on each side with a title that perfectly matches each character of the idiom 金蝉脱壳 [‘the cicada sheds its shell’ – to tactically remove oneself from danger].”
While recording last year at UCCA, the group performed behind a floor-to-ceiling white cloth heaving with bone-dry cicada shells. Labelmates Alpine Decline and Beijing experimental stalwarts Zhu Wenbo contributed modular synths, clarinet, sax and circuit-bent noise.
“They were the best sailors to help us cross this unknown ocean of psychedelic and experimental music,” Yang enthuses. “We really enjoyed playing with them, especially since this was a one-off show.”
The veteran frontman assures long-time fans that “this was an adventure with friends,” and the quartet are currently writing more songs with an eye to recording again next year. But quite how he will find the time is anyone’s guess. In addition to his commitments with P.K. 14, Yang takes on almost every role in the industry imaginable, from label boss to a respected producer in his own right.
And this is before we even begin on his prolific record of collaboration. Most recently, he joined up with singer and renowned poet Xie Yugang (of Dalian post-punk pioneers Wang Wen) for a joint ambient record White Shirt. Released on Yang’s own Share the Obstacles label, it’s another detour into improvisation, with Xie barking out lyrics inspired by Sylvia Plath’s Ariel.
“I watched Xie play solo at XP and got the feeling that we had to work together,” Yang says of the collaboration. “We spent four days in a studio in Dalian before mixing the record in Beijing. We’re happy that people like it. I’m very open to more collaborations with other artists.”
P.K. 14 and labelmates Alpine Decline and Zhu Wenbo during a recent live performance. From L-R: Zhu Wenbo; Jonathan Leijonhufvud (drums, P.K. 14), Shi Xudong (bass, P.K. 14), Yang Haisong (vocals, P.K. 14); Pauline Mu and Jonathan Zeitlin (Alpine Decline); Xu Bo (guitar, P.K. 14)
On top of this variety of projects, Yang keeps up his day job as CEO of much-loved indie label Maybe Mars. Recent months have seen him plugging upcoming releases by Dear Eloise, Skip Skip Ben Ben and new Guizhou act Run Run Run. With its 10th anniversary fast approaching, the label’s standout year was best exemplified by the success of new signings Hiperson. And guess what? He produced their debut album too.
Ever since overseeing Carsick Cars’ game-changing 2007 debut Panda Noise, Yang has served as a producer for some of the Mainland’s most important rising acts. It’s a role he continues to relish, recently working with The Eat, Gate to Other Side, Skip Goat and The Fuzz at his Psychic Kong studio.
After all of that, there’s still enough time to attend live shows, where Yang remains an enthusiastic presence, despite his decades in the scene. While he laments the closure of the Maybe Mars-owned XP Livehouse, he notes: “Thankfully, Beijing never lacks venues. Now we go to School Bar, Yugong Yishan and Modernsky Lab to see bands.”
In fact, the latter venue is set to host the first of Maybe Mars’ new ‘Independent China in Stereo’ series, dedicated to showcasing young acts from different cities across China. Taking place on November 14, the inaugural edition focuses on Shanghai acts Dream Can, Naohai and The Psyders. Live shows like this are a prerequisite for any potential Maybe Mars signee. “It’s very important that we see what kind of energy bands have directly,” Yang explains.
With more livehouses, young acts and record labels launched by new media giants like Douban, Yang operates in (and contributes to) a music industry that is significantly more robust than when P.K.14 started in Nanjing in 1997. Although he notes that China’s smaller cities remain in need of more labels and venues, Yang lays out the philosophy that kept him in the game for so long: “Great bands, great recordings and great shows are what always make me happy,” he says. “Great things are always happening before people realize it.”
Independent China in Stereo (featuring Noahai, Dream Can, The Psyders); November 14, 8pm-late; RMB50-80; Modernsky Lab (see Listings for details).
P.K. 14’s album Music for an Exhibition is available at downloads.maybemars.org.
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