text | Linghu Boguang
Recently "Singer 2024" was broadcast, because there are too many foreign singers this season, and only Na Ying can play as a mainland musician (second-hand roses are out of place), if we have already been on this variety show, we can't , and there are not many Chinese musicians who have not been on "Singer" to choose from.
There are even fewer Chinese-speaking musicians in the new generation. At this time, everyone will find that Hua Chenyu seems to be very capable in this generation.
"Singer" is a music competition variety show. It is probably a PK elimination system where famous musicians rely on their strength to control various styles. The most outstanding mainland musicians of the same generation are Deng Ziqi and singer Zhou Shen. On the contrary, Li Ronghao, Liang Bo, Zhao Lei, and Mao Buyi, whose voices are recognizable, catchy songs, and have distinctive music styles, have not been included in several issues. .
There is a so-called shady story in this, but after seeing the dimensionality reduction attacks of foreign musicians on "singing" from "Singer 2024", I believe that many people should have a taste of it, and may not necessarily change their views on Hua Chenyu. But are there any other thoughts from the perspective of "popular music"?
There has always been a lot of controversy over Hua Chenyu's strength in the Chinese music scene. Fans praise him to the heavens while netizens belittle him to nothing.
I am not a music major personally, but while writing articles I often listen to songs, go to various venues, and also communicate with some music fans. At the same time, writing articles in this field has always been based on the development of the cultural industry and the social environment, so I have some observation of the rules of the industry.
Tao Zhe is the godfather, why is Jay Chou the king? Where did Wang Leehom lose?
The mainland generation around 2000 mainly played rock music by Xu Wei, Zheng Jun, and Wang Feng, and the main songs were folk songs by Pu Shu and Li Jian. Xie Tianxiao, who entered the underground at the same time, was also a wild child, not to mention rock and ballads. Later, the most influential singer-songwriter in music style was the folk Daolang, and Phoenix Legend was all national pop.
Therefore, Taiwanese Zhou Wangtao is also rb Chinese, Chinese rap, and then New Chinese style, plus rock and other music styles, as well as the combination of these music styles.
Tao Zhe is the godfather of Chinese RB, but other styles are inferior. Wang Leehom and Jay Chou are somewhat opposite but each has a distinct identity. Jay Chou's "East Wind Break" and other films created a new Chinese style, and Wang Leehom's "Sun and Moon in the Heart" and "Heroes" chinked out and achieved great success. Low. Jay Chou's rap and Wang Leehom's rap are not bad either. Jay Chou's guava is popular, and so is Wang Leehom's guava.
That music major can tell me where Wang Leehom lost to Jay Chou.
JJ Lin mainly focused on guava in the early stage, Mayday continued to mix pop rock, and Soda Green's early stage was similar to the later evolution.
They have all achieved breakthroughs, pioneering and establishment of Chinese music style, and have become one of the mainstream music styles in the Chinese music scene, and their influence has been very far-reaching.
However, Jay Chou's generation only influenced the generation of mainland singers such as Xu Song and Wang Sulong (the same generation was Hu Yanbin, Wu Kequn, etc.). The influence of mainstream pop music is not as big as you think. After 2012, Jay Chou's vote will no longer exist. Influenced the Chinese music style.
The mainland music scene after 2010 paved the way for the exploration of independent music after 2000. The 2009 Music Festival and Lvie gave birth to Song Dongye, Li B, Ma Di, Chen Li, and Zhao Lei, a group of mainland new folk songs, and then the outbreak of the Universal Youth Hotel Mainland rock, not to mention other styles (contemporary ancient style, Mainland hip-hop 17 years later)
In terms of popular music in this market, Li Ronghao originally developed in Taiwan, and can be regarded as a continuation of Taiwan's rb and guava styles. His music style It was also Jay Chou's generation of Chinese RB and guava that had its own distinct identity, as well as the sense of industrial sophistication that came out of the Taiwanese record era.
Hong Kong's Deng Ziqi can be regarded as the pinnacle of that generation of singer-songwriters from early Hong Kong guava to Chinese rb, rap and hip-hop. In addition, Liang Bo is the most popular singer-songwriter in the Mainland pop rock market, Zhao Lei and Chen Li are Mainland folk songs, and Mao Buyi is also a folk song, but he has nothing to do with the Mainland independent folk songs.
text | Linghu Boguang
Recently "Singer 2024" was broadcast, because there are too many foreign singers this season, and only Na Ying can play as a mainland musician (second-hand roses are out of place), if we have already been on this variety show, we can't , and there are not many Chinese musicians who have not been on "Singer" to choose from.
There are even fewer Chinese-speaking musicians in the new generation. At this time, everyone will find that Hua Chenyu seems to be very capable in this generation.
"Singer" is a music competition variety show. It is probably a PK elimination system where famous musicians rely on their strength to control various styles. The most outstanding mainland musicians of the same generation are Deng Ziqi and singer Zhou Shen. On the contrary, Li Ronghao, Liang Bo, Zhao Lei, and Mao Buyi, whose voices are recognizable, catchy songs, and have distinctive music styles, have not been included in several issues. .
There is a so-called shady story in this, but after seeing the dimensionality reduction attacks of foreign musicians on "singing" from "Singer 2024", I believe that many people should have a taste of it, and may not necessarily change their views on Hua Chenyu. But are there any other thoughts from the perspective of "popular music"?
There has always been a lot of controversy over Hua Chenyu's strength in the Chinese music scene. Fans praise him to the heavens while netizens belittle him to nothing.
I am not a music major personally, but while writing articles I often listen to songs, go to various venues, and also communicate with some music fans. At the same time, writing articles in this field has always been based on the development of the cultural industry and the social environment, so I have some observation of the rules of the industry.
Tao Zhe is the godfather, why is Jay Chou the king? Where did Wang Leehom lose?
The mainland generation around 2000 mainly played rock music by Xu Wei, Zheng Jun, and Wang Feng, and the main songs were folk songs by Pu Shu and Li Jian. Xie Tianxiao, who entered the underground at the same time, was also a wild child, not to mention rock and ballads. Later, the most influential singer-songwriter in music style was the folk Daolang, and Phoenix Legend was all national pop.
Therefore, Taiwanese Zhou Wangtao is also rb Chinese, Chinese rap, and then New Chinese style, plus rock and other music styles, as well as the combination of these music styles.
Tao Zhe is the godfather of Chinese RB, but other styles are inferior. Wang Leehom and Jay Chou are somewhat opposite but each has a distinct identity. Jay Chou's "East Wind Break" and other films created a new Chinese style, and Wang Leehom's "Sun and Moon in the Heart" and "Heroes" chinked out and achieved great success. Low. Jay Chou's rap and Wang Leehom's rap are not bad either. Jay Chou's guava is popular, and so is Wang Leehom's guava.
That music major can tell me where Wang Leehom lost to Jay Chou.
JJ Lin mainly focused on guava in the early stage, Mayday continued to mix pop rock, and Soda Green's early stage was similar to the later evolution.
They have all achieved breakthroughs, pioneering and establishment of Chinese music style, and have become one of the mainstream music styles in the Chinese music scene, and their influence has been very far-reaching.
However, Jay Chou's generation only influenced the generation of mainland singers such as Xu Song and Wang Sulong (the same generation was Hu Yanbin, Wu Kequn, etc.). The influence of mainstream pop music is not as big as you think. After 2012, Jay Chou's vote will no longer exist. Influenced the Chinese music style.
The mainland music scene after 2010 paved the way for the exploration of independent music after 2000. The 2009 Music Festival and Lvie gave birth to Song Dongye, Li B, Ma Di, Chen Li, and Zhao Lei, a group of mainland new folk songs, and then the outbreak of the Universal Youth Hotel Mainland rock, not to mention other styles (contemporary ancient style, Mainland hip-hop 17 years later)
In terms of popular music in this market, Li Ronghao originally developed in Taiwan, and can be regarded as a continuation of Taiwan's rb and guava styles. His music style It was also Jay Chou's generation of Chinese RB and guava that had its own distinct identity, as well as the sense of industrial sophistication that came out of the Taiwanese record era.
Hong Kong's Deng Ziqi can be regarded as the pinnacle of that generation of singer-songwriters from early Hong Kong guava to Chinese rb, rap and hip-hop. In addition, Liang Bo is the most popular singer-songwriter in the Mainland pop rock market, Zhao Lei and Chen Li are Mainland folk songs, and Mao Buyi is also a folk song, but he has nothing to do with the Mainland independent folk songs.
What is Hua Chenyu’s level in the Chinese music scene? Not a king, not worthless
Hua Chenyu's development path is similar to Mao Buyi, and has little to do with Cui Jian's mainland rock department. In the early stage, he directly studied Western rock, psychedelic rock, indie rock, classical pop and other elements. In the middle and later stages, I combined electronic music, rap, and Western choir and religious styles, but they were superficial and not deep enough.
Hua Chenyu's first two albums "Quasimodo's Gift" only had three compositions, and the most popular "Fireworks" was not composed by him. The second album "Alien" consists of 7 and a half songs, with no out-of-band songs.
These two albums are psychedelic rock, indie rock, and pop albums with classical elements. However, except for "Fireworks", they are not popular enough.
's second album began to incorporate elements of hip-hop and rap, and the third album "h" is the same. The overall completion is also good, and the production is very sophisticated among Chinese pop albums. If you combine the music albums of singers and songwriters from the early, contemporaneous and later Chinese music circles, you should at least achieve a certain degree of breakthrough, pioneering and distinctive musical style.
However, if we talk about the status of the music industry, it has nothing to do with crazy performances such as "Song without Words". In terms of the influence of music albums alone, we are not talking about Luo Dayou and Cui Jian. You and Tao Zhe's first album "david tao" also have multiple music styles. , but then started Chinese RB, and the following "I'm OK" and "Black Willow" are the peak.
Due to space limitations, I won’t talk about Jay Chou and Leehom Wang’s albums here, but I believe it doesn’t need to be mentioned.
Hua Chenyu's first three albums were completed to a high enough level, and he is unique among singer-songwriters in the Chinese pop music scene. He has made certain contributions, but has he developed a musical style? Which musicians have you influenced? Is this music style mainstream in the music world?
I think Hua Chenyu's first three albums are the most completed, and the fourth album "New World" is Hua Chenyu's most ambitious album.
"Qi Tian" is a song with elements of rap and rock. "I Want to Love This World" and "Conversation with the Children of Mars" are not ballads but are more lyrical, so they are also the most popular in the circle.
The remaining songs "Bullfighting", "Sevenfold Personality": "Madhouse", "Sacred Tree" and "Arrival" are big breakthroughs. Different musical styles and religious styles are popular.
The latter "Madhouse" is rock and reggae pop, "Sacred Tree" is psychedelic rock, and "Arrival" combines Chinese style with its five-tonal melody and Western-influenced lyrics.
"Bullfighting" raps and sings, with heavy metal rock style singing and hip-hop electronic elements. "Seven Personalities" ranges from classical rock to modern rock, hip-hop and rap to various complicated electronic synthesizers and string instruments.
To be fair, Hua Chenyu's album "New World" is very worthy of encouragement in the Chinese pop music scene, because it is very rare to play such a fancy, groundbreaking, and high-quality album. Really, but -
Here's the question Well, are Hua Chenyu and the team having fun? Why is
divided into two paragraphs? Maybe ordinary people can't appreciate "Bullfighting" and "Sevenfold Personality". It's too complicated to explain from a music professional perspective, let's put it that way. In recent years, there has been a mainland independent music band called Fu Lu Shou, the one who wrote "What Should I Do to Keep You?"
Their religious-style songs include "Transfer Me", "Muke" and "Lanruo Tara", which are based on Western classical music, electronic music as the framework, and Eastern cultural elements as the core, with simultaneous singing, harmony, arrangement, and instrumental music. , every aspect of the production is very sophisticated, and it is almost natural. It can be regarded as the pinnacle of Chinese religious pop music style in recent years.
The songs in Hua Chenyu's fourth album "New World" are generally similar (the music styles are different). Hua Chenyu's music is okay, and his lyrics are average, but the arranger, instrumentalist and producer Zheng Nan, I feel, is obviously not as good as the triplets from Yangyin who are connected to each other, so the album is very disappointing.
's live arrangement, instrumental music and production were not up to par, so Hua Chenyu had no choice but to sing. This technique is usually chanting, hip-hop rapping, tearing high notes, and rock-style bass singing.
Domestic audiences like him will naturally not like it (even less when combined with crazy performances). The problem of is also suitable for songs adapted from variety shows such as "Singer". From a musical perspective, the main reason is that the arrangement, instrumental music and production are not smooth enough. , it was Hua Chenyu who used his singing to top it off. His singing and the whole song are very complex and well-produced, but they are neither as professional as similar independent music nor as natural as pop music.
His songs are also compared with those of domestic singer-songwriters with strong singing skills, such as Tao Zhe, Wang Leehom, Eason Chan, JJ Lin, etc. In the end,
is not a top-level song, but a top-level album. It may sound deceptive at first glance, but in fact it is more than one level behind. Fans have filters to ignore the shortcomings and even sublimate the connotation (my brother is so awesome). Even if we don't consider the public, your influence within and outside the industry is not enough. You are not an unpopular masterpiece in the music industry, right?
In fact, the same examples of Jay Chou's "In the Name of the Father" and "Chapter Seven of the Night" are positive examples. Are similar songs rare in the Chinese music scene? But the public circulation is good, and the mention and influence are high enough.
I think the narrated songs "Madhouse", "Arrival" and "The Sacred Tree" are quite good, including the live version of the latter album "Flowers in the Town", but the album also exposed the shortcomings of commercial producer Zheng Nan. Ban, he couldn’t arrange and produce it himself, so it ended up like this.
It’s been 11 years since your debut? From being the new king to being laughed at, Hua Chenyu’s era has also passed
Hua Chenyu’s fifth album "Hope" has gone downhill. There are not many breakthroughs in the whole album. The most popular song "In a Small Town" The album version of "Flower" turned out to be like this, and several new songs were released afterwards.
I also listened to it, and it felt like that.
Speaking of which, Hua Chenyu debuted in "Fast Man" in 2013, and it has been 11 years since 2024. He has released five albums, adapted dozens of songs, and added a lot of commercial songs. It takes almost 10 years for a pop musician to That way, unless we can achieve a breakthrough and upgrade, but I feel there is little hope.
Generally speaking, in terms of music style, Hua Chenyu has made certain breakthroughs and contributions to the Chinese music scene; at least it is much better than playing chords and chewing on the style things that the Chinese music scene used to have. In fact, the Chinese pop music scene is very lacking in his kind. He is a heterogeneous singer-songwriter, but compared to independent music, he is not so extreme.
This leads to his shortcomings: first, he did not write many guavas for singing, and there are a few songs that were not written by him. Second, his music style is distinctive enough, but his influence on the music scene is not enough. It neither revolutionizes Chinese pop music nor is it a very niche to the extreme independent music.
Of course, what everyone is criticizing Hua Chenyu now is just because he followed the traffic route in the traffic era, and as a result, his character collapsed.
Speaking in human terms: Netizens only like to enshrine and destroy gods based on their "personality". I think Hua Chenyu is not that unbearable. On the contrary, he is an outlier in the Chinese music scene and has made certain breakthroughs and contributions (the mainstream music scene still lacks him. This kind of musician), but that’s probably the case. Now in this environment, even Hua Chenyu is gone.
Domestic audiences like him will naturally not like it (even less when combined with crazy performances). The problem of is also suitable for songs adapted from variety shows such as "Singer". From a musical perspective, the main reason is that the arrangement, instrumental music and production are not smooth enough. , it was Hua Chenyu who used his singing to top it off. His singing and the whole song are very complex and well-produced, but they are neither as professional as similar independent music nor as natural as pop music.
His songs are also compared with those of domestic singer-songwriters with strong singing skills, such as Tao Zhe, Wang Leehom, Eason Chan, JJ Lin, etc. In the end,
is not a top-level song, but a top-level album. It may sound deceptive at first glance, but in fact it is more than one level behind. Fans have filters to ignore the shortcomings and even sublimate the connotation (my brother is so awesome). Even if we don't consider the public, your influence within and outside the industry is not enough. You are not an unpopular masterpiece in the music industry, right?
In fact, the same examples of Jay Chou's "In the Name of the Father" and "Chapter Seven of the Night" are positive examples. Are similar songs rare in the Chinese music scene? But the public circulation is good, and the mention and influence are high enough.
I think the narrated songs "Madhouse", "Arrival" and "The Sacred Tree" are quite good, including the live version of the latter album "Flowers in the Town", but the album also exposed the shortcomings of commercial producer Zheng Nan. Ban, he couldn’t arrange and produce it himself, so it ended up like this.
It’s been 11 years since your debut? From being the new king to being laughed at, Hua Chenyu’s era has also passed
Hua Chenyu’s fifth album "Hope" has gone downhill. There are not many breakthroughs in the whole album. The most popular song "In a Small Town" The album version of "Flower" turned out to be like this, and several new songs were released afterwards.
I also listened to it, and it felt like that.
Speaking of which, Hua Chenyu debuted in "Fast Man" in 2013, and it has been 11 years since 2024. He has released five albums, adapted dozens of songs, and added a lot of commercial songs. It takes almost 10 years for a pop musician to That way, unless we can achieve a breakthrough and upgrade, but I feel there is little hope.
Generally speaking, in terms of music style, Hua Chenyu has made certain breakthroughs and contributions to the Chinese music scene; at least it is much better than playing chords and chewing on the style things that the Chinese music scene used to have. In fact, the Chinese pop music scene is very lacking in his kind. He is a heterogeneous singer-songwriter, but compared to independent music, he is not so extreme.
This leads to his shortcomings: first, he did not write many guavas for singing, and there are a few songs that were not written by him. Second, his music style is distinctive enough, but his influence on the music scene is not enough. It neither revolutionizes Chinese pop music nor is it a very niche to the extreme independent music.
Of course, what everyone is criticizing Hua Chenyu now is just because he followed the traffic route in the traffic era, and as a result, his character collapsed.
Speaking in human terms: Netizens only like to enshrine and destroy gods based on their "personality". I think Hua Chenyu is not that unbearable. On the contrary, he is an outlier in the Chinese music scene and has made certain breakthroughs and contributions (the mainstream music scene still lacks him. This kind of musician), but that’s probably the case. Now in this environment, even Hua Chenyu is gone.
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