Guzheng

YĪN YĪN, the highly touted Dutch quartet from Maastricht, returns with a sonically expansive third album Mount Matsu. Recorded collectively in their own studio in the Belgian countryside, the album is a kaleidoscope of sounds and influences, occupying a no man’s land between Khruangbin and Kraftwerk, surf music and Southeast Asian psychedelia, Stax soul and mutant 80s disco, City pop and Japanese instrumental folk (sōkyoku).

In his music, Xiaoyong Chen likes to strike a constant balancing act between his origins in Beijing and Hamburg, which he has made his home, where he studied with György Ligeti, and where he has been teaching composition and intercultural mediation since 2013. His compositions are, in a manner of speaking, “west- eastern travelling parties”: To the classical inventory of European instruments, he introduces the sounds of Chinese instruments that have several thousands of years of history to them. Among those are the sheng, a mouth organ, the guzheng, a plucked zither, the pipá, the four-stringed “Chinese lute”, and the yangqin (similar to a Western dulcimer). Chen brings the occasionally resulting sharp cultural dif- ferences, the seemingly incongruent musical material, and his understanding of music all together in a melting pot. From all of this, he creates fascinating and ever-new, original, serious concoctions. As part of this process, Chen asks: “Will the art of the future be based on tradition?”, only to add, matter-of-factly: “If so, why?”

In these collections, music is used to convey the diverse characteristics of tea and flowers to listeners. The composers blend the different features of Chinese instruments such as the paixiao, gaohu, guzheng and pipa with sound of nature to create a vivid representation of new age music.