Tom Cruise and Katie Holmes – A Million Farewells – 13th November 2015

Cat #: 177TZM

When Xiao Zhong and Sharon Cee-Q found themselves in a room together for the very first time, they agreed on a guiding philosophy: “Let’s not make anything that’s going to last. If we’re together for just two shows, then that’s what it is.” Thus was born Tom Cruise And Katie Holmes. Since then, they’ve most certainly deviated some, but not much, really.

Over the course of a year and a half, the Shanghai-based musos who’d been involved (non collectively) in such lauded mainland acts as Pairs and Hua Jia Hu Wei, released their debut 7” here on Genjing, added journeyman bassist Sam Walsh and drummer Daniel Nagles to their lineup and have proceeded to lay down one of contemporary indie rock’s most exhilarating jam sessions gone right – a concise full-length chock-full of woolly, dreamy, delicate, white-knuckled shoegaze imbued modern hymns.

This autumn marks the official arrival of A Million Farewells, the band’s first long-player for Genjing Records. It is a miraculously dissonant, wonderfully immediate display of Tom & Kate at their mightiest; alive with the same wild chemistry and sense of possibility that made their first recordings so vital. With more time together than they’d ever had before (which wasn’t much), the band had found themselves confronted with ideal, yet quasi-foreign conditions. And they wouldn’t have had it any other way. Two-minute freakouts like “My Life is Over” share airspace with the meditative squall of “Sam’s Knife” and the guitar-born majesty of the title track. One can’t but notice the band’s intentionally one-off brand of being exactly who they are in a pop context; everything presumably captured in (something like) three takes or less in a bleak, quasi-nondescript studio someplace deep within the damp, scabulous scrawl of modern Shanghai.

“It’s a simple thing,” Xiao Zhang says of their approach. “Simple takes the worry out of it. But we’ve grown up and been through some shit in China. To get to this point you have to bust through a few walls. It’s easy to be new, and I think, in the end, this is what it is.”

When you put the aforementioned foursome in a room, it’s Tom Cruise And Katie Holmes.

And A Million Farewells truly is what it is – quite something: a classic quasi-Sinophilic full length if there ever was one. 

Primitive Calculators/Torturing Nurse – 16th March 2015

Cat #: 175TZM

Roland Barthes once said: “The ‘grain’ of the voice is not – or is not merely – its timbre; the signifiance it opens cannot better be defined, indeed, than by the very friction between the music and something else,” but who gives a shit? Torturing Nurse would sooner cough on you than speak to you, and they are most definitely not concerned with “music”, just the “some- thing else”. The “grain” here is the granular phlegm at the bottom of “vocalist” Junky’s throat, a choking, faltering reference to the body before the machine takes full control. For this music, you don’t need ears. You don’t even need a body, really. What would Barthes say about the grating grain of all voices at once? Music that’s been fed through the effect-chain meat grinder so many times it ceases to be readable as “music” and actually starts to sound like meat? Just GRIND, fine-ground, the last tiny pieces of humanity ebbing through the proverbial hourglass, grain by grain by grain. There’s no one left: just “Midnight, The Stars & You,” and the horrible, howling wind whipping rust particles through your pores until you’re more corroded metal than man.

Roland Barthes also said: “We know now that a text is not a line of words releasing a single ‘theological’ meaning (the ‘message’ of the Author-God) but a multi-dimensional space in which…  more

PRIMITIVE CALCULATORS are
Frank Lovece – Vocals
Stuart Grant – Guitar / Vocals
Denise Hilton – Keyboards / Vocals
David Light – Bass
Andrea Blake – Rhythms / Vocals
additional vocals by Pocket Calculators featuring Grace, Velvet Sand (Siege-a & O-g-o), Fu and Stella Electrika

TORTURING NURSE is Junky – Noise

AV Okubo – Opium/Heroin – 3rd February 2015

Cat #: 174TZM

If you’ve never been to Wuhan, let me tell ya: it’s fucking BLEAK. China’s landlocked industrial boiler room, smelting the future from discarded harsh metal scraps of past failures. The heat’s so hot it’ll melt your will to live. Opiates help. Wuhan’s AV Okubo know this, they even soundtrack this. “Opium” is a re-purposed stereo-heater churned out like some retro-futuristic answer to the prayers you’ll be praying years from now, as the decline continues to decline. The voice of “Opium” is a voice out of time, a bi-gender mensch-machine crammed into a vintage Japanese vocoder, sampled and re-sampled til the original is forgotten in a self-medicated haze (while reclining, eyes open but not seeing, slackjaw dreaming). No clue what it’s saying (something about the Qing Dynasty GDP) — but the bottom line is: we’re all damned if it doesn’t ease the growing pains.

“Heroin,” meanwhile, sounds like the Sex Pistols telling Lou Reed to fuck off. Actually this B-side was originally supposed to be straight up Velvets cover but, as AVO vocalist Lu Di laments right off the bat, “the price is too high and I can’t afford it.” Wuhan bathtub meth it is, then. Again! Maybe E, LSD and some more weed, to chase. OK, good now. Let’s do this. Only bass line that comes to mind is ripped straight from Sid’s dead mitts but it’s a miracle we’re even standing up at this point so… Wuhan’s fucking hot. Need more ice. What’s next? The rest… “and the rest, I don’t wanna know.”
credits

Recorded at Busy Bee Studios in Beijing by Andy Gill and Santi Arribas
Mixed at The Beauchamp Building, London by Andy Gill and Santi Arribas
Mastered at The Mixing Factory in London

GR028
genjingrecords.com

Imported to Australia under license

Snapline – Paper General – 3rd February 2015

Cat #: 173TZM

Welcome to the future! Snapline dusts off one from the vaults, a new two-song slammer with material from the pre-Phenomena (2012), pre-Future Eyes (2011) times, created in their hearts & minds ca. 1982 for a series of never-aired infomercials canonizing China’s proud martial might and technological prowess.

Yes, though the band’s members had only just been born, they were already on the vanguard. This is the sound of disaffected technical university dropouts graduates with honors. This is what’s been in the water. “Paper General” blasts it off at march speed, written for the happiest army in human history. Tens of thousands of men and women standing, smiling like the technicolor postcard you once saw in a kitsch shop. Operators Li Qing and Li Weisi stack the kosmische filter sweeps and pure analog noise generators with Snapline’s trademark loose cohesion. You can almost hear their fingers at the switches! While the picture adjusts (it never quite does), Chen Xi barks the orders. “Turn your radar ON!” His voice is almost lost in the static. Which is the signal and which is the noise? “It could be thousands of ways / to say a word in different tones.”

Next stop: “Wasteland.” The path forward seems infinite but your trip lasts just over seven minutes. Scientific progress sounds like a rickety synthesizer shuttling too close to the sun. Even the control melts. The rhythm is vaporized. It never mattered. Return to earth and you no longer recognize what you once called home. Spin it, flip it, repeat.

Bad Nerve/Fanzui Xiangfa – 2nd February 2015

Cat #: 172TZM

FANZUI XIANGFA is:

狂骂 [Kuang Ma] – Drums
逆反 [Ni Fan] – Guitar
毛病 [Mao Bing] – Bass / Vocals
冲撞 [Chong Zhuang] – Guitar
六六 [Liu Liu] – Lead Vocals

Recorded and mixed by Hou Likao at Jishengchong Studio. Vocals recorded by Deng Chenglong and Tan Hang.

BAD NERVE is:

Mårten Bläckberg – Guitar/Vocals
Anna Salonen – Bass/Vocals*
Jonas Lyxzen – Drums/Backing Vocals
Melody Almroth – Bass/Vocals

*On this recording: Anna – Bass/Vocals

All music and lyrics written by Bad Nerve
Recorded at Parasite Studio May 2013
Mixed and Mastered by Fredrik Lyxzen, Parasite Studio

Thanks: Fredrik, Nevin and Genjing Records, Dennis and Ny Våg Records, Amanda, all our friends and families.

GR038 – genjingrecords.com

Imported to Australia under license.

Low Bow/Dinged Up – 1st February 2015

Cat #: 170TZM

Bow low, my friends! The FAST SON’s coming and you don’t wanna lock eyes when he rises. Yes, it’s LOWBOW, and ooohhhhhh… “All of your future, stuck in your past / you still can’t work out why you’ll never last.” Baby. Sounds like these two rippers were cut fast & loose in ‘72, but no sirree, they got laid down last year right here in the P.R. of C, where time has ceased to be. LOOKOUT! You know the Fast Son moves quicker than the mutants on the bottom of the East China Sea, and “you can’t win with a draw.” LOWBOW, you see, rode from Dublin to D-22 on the wings of a faded dream and rebooted himself in the image of Bo Diddley’s ghost, putting his own grease on them post-proto-punk, gutter-oil-blues stompers we’ve come to need, all gold lamé and lightning speed. LOWBOW’s seen less than the Loch Ness ‘round these parts these days, but you know he’ll be back: that Fast Son won’t stay off the wagon for long. 

DINGED UP, on the other side, is just that. Their nearest metropole is Baltimore, for Poe’s sake! Their two tunes on this end of the slab won’t get you too down, but rest assured they are both “Made of Grief.” Recommended for fans of: six-note solos, suburban burnout blues, Saccharine Trust – Paganicons, 21st century garages (they no longer hold cars, just withering ennui and empty space, amps, drums). DINGED UP’s about to rain down on a city near you, USA ladies and dudes. They fly on the late summer winds like a trio of tumbleweeds. Dust off and suit up, Big Red, these two are for you.

LOW BOW 

All tracks conceived, written & performed by LOW BOW 
LOW BOW are Richard Doran (Electric Git & Vox) Michael Cupoli (Drum & Drum) 

Audio recording and final mastering by Mr. Yang Hai Song. Summer, 2013 in the People’s Republic Of China. 

LOW BOW hope that you find this recording to be of a professional standard. Served best via headphones or on A.M. radio. 

Thank you for purchasing this recording legally. Now, why not tell a friend that further LOW BOW recordings of HI fidelity standards can be found at  lowbow.bandcamp.com

For information or parenting tips,  lowbowband@gmail.com

DINGED UP 

All tracks written & performed by 
Joe Rankin 

Engineered by Jason Nicholls 
Produced & mixed by Joe Rankin & Jason Nicholls 
All recording, engineering & mixing took place Fall 2013 at Mutant Sun Studio in the U.S.A. 
Mastered by Chris Bentley in Fall 2013 at The Bunker studio, also in the U.S.A.  

dingedup.bandcamp.com
josephmrankin@gmail.com

Beijing photo by Richard Doran 
Western Maryland photo by Brad Reiter 
Additional artwork by Jason Nicholls 
Graphic Design by Jesse Davis 

GR029  
genjingrecords.com

Imported under license for Australia.

The Yours – Public Eye – 1st February 2015

Cat #: 171TZM

Produced by The Yours
“Public Eye” recorded and mixed by Yang Haisong at Psychic Kong, Beijing, Dec 13, 2013
“Purple” recorded and mixed by Nic Wong, Feb 14, 2014
Mastered by Garrett Haines at Treelady Studios, Pittsburgh USA
All songs by The Yours
Drums by Nelson Ko and Pie Wong

Art by The Yours
Layout by Die Leung

Managed by Yuman Ng

Special thanks to our families and dearest friends; Yang Haisong, Fuhan, Zhang Shouwang, Nevin Domer, Nikki, Bebe and Reggie from S.T.D, Nelson Ko, Roland Lee, Pie Wong, Gosha Rubchinsky and Tim Head

genjingrecords.com
www.iii-records.com

© 2014 GENJING RECORDS, IMAGINE IMAGINE IMAGINE RECORDS LIMITED

Imported under license for Australia.

Wang Wen – Eight Horses – 3rd January 2015

Cat #: 163TZM

Wistful, dreamy, romantic, visceral and truly eclectic, Wang Wen, is the diamond in the rough. If there was ever a Chinese language inflected band that proves western-influenced post-rock is spreading throughout the world like wild fire, it is this quintet from the unlikeliest of locals, the heart of PRC shipping mecca, Dalian. Led by singer/ principal songwriter/ guitarist/ laptop maestro/ antiquated electronics aficionado Xie Yugang, Wang Wen formed in 1999. Six albums and one EP later, they haven’t looked back since.

The Eight Horses double LP, Wang Wen’s first for Genjing Records, runs like thick melancholic molasses peppered with progressive indie-rock sensibilities, while consistently flowing and soaring with the beauty of a dream. “There is a Chinese saying, which goes, ‘When I start to move, I can be faster than a rabbit: when I come to a rest I am like a sleeping baby,” elaborates Xie Yugang. “Our music is like this. We want to make fast music that wakes people up, that moves people. Yet again, we want to make calm music that makes people dream like a newborn child.” Sung in contemporary Mandarin with an extremely modern twist, Xie Yugang is true to his word. Check out the drawn-out, melancholic rock eruption that is “Escape From Mother Earth ” and the cathartically concise melancholy of opener “Northern North”.

Is it odd that a band from China could appeal to western audiences? Not according to Xie Yugang, “We all have the same longings and desires,” he says. “Music is the one thing that transcends cultural boundaries. It’s a language that can be understood all over the world.” 

Written and Performed by Wang Wen

Recorded by An Jiguo at Echo Library, Dalian, China in March 2014

Mixed by
Wouter Vlaeminck (The Last Journey, Welcome to Utopia)
Yang Haisong (Sky of Dalian, Ten Thousand Buddhas, Dionysus)
Wang Yanan (Northern North, Escape from Mother Universe)
An Jiguo (The Eight Layer of Hell)

Wang Wen are
Xie Yugang – Guitar & Vocals
Geng Xin – Guitar
Xu Zengzheng – Bass
Zhang Yanfeng – Piano, Strings Arrangement, Melodica
Zhou Lianjiang – Drums
Huang Kai – Trumpet & Alto Horn

Additional Musicians
Qu Ruining and Wang Yanan from Which Park

汤姆克鲁斯和凯蒂霍尔姆斯 Tom Cruise and Katie Holmes – 你不爱我 – 7th August 2014

Cat #: 160TZM

Tom Cruise and Katie Holmes. What happened with those two? Why name your band after them? Are they a totem of the 21st-century relationship? The infuriating alienation and slow-burning pain of failed love? Nah. Maybe. “You Don’t Love Me (你不爱我)” rails against the inevitable for about four minutes before yielding to the feral chaos underlying human nature, love, celebrity, the sounds of the words themselves. After the heart’s fires burn out there’s just swirling ash, granules too small to be individually seen but jagged enough to sting your eyes long after the light and warmth are gone.

The flip side is an extended remix of another Tom & Katie tearjerker,
“After Leaving (离开后),” by Huashun Unit. H.U. is one of many aliases for one-man Shanghai doom drone crusader Nahash, née Laura Ingalls (not his real name), and his partner in crime, Clement Pony. In this studio trip, he basically takes one open guitar chord and a few disembodied vocal fragments from Tom and Kate respectively and transmutes them into a lush gestalt that sounds like it was written and performed by Enya’s evil twin for some kind of nefarious ritual. If you’ve never been to Shanghai, let me tell you: this track sounds exactly like how it feels to walk into a bomb shelter dance club choked with cut-rate cigarette smoke and the stink of unmoored pheromones at 5 in the morning. Love blinds.

Recorded and mixed by The Horses at Studio Poney, Shanghai China.
Mastered by Garrett Haines at Treelady Studios

汤姆克鲁斯和凯蒂霍尔姆斯 are:
Cee Q – vocals, keyboards
小中 – guitar, keyboards
tomlovedkatie@gmail.com
tcakh.bandcamp.com
huashanrecords.bandcamp.com

Licensed from Genjing Records for release in Australia.

The Fallacy – Painkiller – 5th August 2014

Cat #: 162TZM

Take everything you know about the burgeoning “underground” Chinese punk scene, put it in an ornate, hand crafted box, lock that box and throw it into the deepest pool of the 68o Yangfu Mountain Hot Spring! This is the beer soaked sound of the Henan suburbs circa 2014: three young men from Xinxiang relaying their day-to-day experiences via the medium of tightly wound hooks, post-punk exhibitionism and the drive time ferocity of ’77 punk, all filtered through the lens of (producer/PK 14 frontman) Yang Haisong’s Psychic Kong studio. Handsomely packaged, featuring cover art by up and coming visual artist extraordinaire Xu Jiacun, the Painkiller 7″ is a third tier city curio you’re definitely going to want in your ever expanding collection of China-centric wax platters.

THE FALLACY are:

Wang Xubo – Vocals / Guitar
Zhang Nan – Bass
Da Li – Drums

Recorded by Yang Haisong at Psychic Kong, Beijing 2013
Mastered by Garrett Haines at Treelady Studios, USA
Paintings by Xu Jiacun
Designed by Ksama of Dooo Design Studio

Licensed from Genjing Records for release in Australia