Bai Jin 白金, Bai Mian Bao 拜面包 and Pacalolo @ What Bar, 3 August 2010

By Jordan, 2010年 8月 11日

The wave of summer musical ragers seems to have crested. Maybe it’s just the weather or maybe just my mood. Anyway, it’s August now, and the listings in the back of the Beijinger don’t call out to me in the same way they did round about late June. So this past Tuesday when I was on my way home from the Apple Orchard in west Beijing, I was elated to hear that my friend Brad was playing a show at What Bar. I unstuck myself from the plastic seating on line 1 and hopped off at Tiananmen West. Late summer has set in, cooler air, breathable. The long stroll up the west side of The Forbidden City always puts me in a mood. The chattery silence calms and unsettles me at the same time. I haven’t seen What Bar more crowded since Nanwu played in late February. Last week, Qin Xuan hosted a What Festival, “Seven Days of Rock.” She always stays true to herself. It’s all about the community there. No filters on music. The good and mostly the bad, the unknown and the somewhat bigger. “Seven Days” mostly showcases obscure groups from across the musical spectrum. Ska, punk, techno, folk. Though the schedule is dotted with somewhat recognizable names, Pacalolo, Skarving, Discord, among others.

I arrived on the third night of the festival. Brad, who performs under the name Bai Mian Bao 拜面包, was sharing the stage with Bai Jin 白金 and Pacalolo. The line up was surprisingly cohesive. Electronic, dancy, and poppy throughout, with appreciable variation amongst the bands. Brad frightened me when he described Bai Jin. Techno was the first word. I can’t remember the others. My expectations were met though. Baijin suited up before he started. Black on black on black, with bug-eyed black goggles. The beats pumped before I had time to brace myself. Techno dance pop, punctuated by shouty English vocals. The most enjoyable part of the set was the display of one-legged spastic raving at the table by the stage. I’m not sure if the man had a sprained ankle, but I’m sure he was drunk, and I’m positive he was enjoying, and that kind of spirit is contagious.

Brad played second. I’ve been waiting a long time to see him perform. I’ve listened to his music online, but his music has changed a lot since he’s come to China. I knew that the main ingredients were synth samples from his computer, drum machines and recordings he’d done at home in Louisiana, live pipa soloing, and vocals. It was immediately apparent that Mian Bao was far more tasteful and nuanced than the opener. In the beginning, I assumed that the computer would serve as the base throughout his set, with accents of quiet Chinese ambling. The tone shifted quickly, however, and in my opinion, in a positive way. Rhythmic pipa strumming and Brad’s straightforward vocals became the focus, particularly on songs like “Distant,” where the pipa and sampling blended perfectly. My electronic appetite was satisfied by the end of Brad’s set, and seeing as I’ve encountered Pacalolo countless times over the 9 months I’ve been here, I left. I could imagine the electro dance pop that Pacalolo was preparing to unleash upon me, and I decided to quit while I was ahead.

Perhaps it’s the rage in me that is waning at the moment. As it turns out, D22 experimental night seemed to be alive and well on Tuesday. What Bar was where I needed to be though. It’s refreshing to take a small step outside of the established and structured. It’s important to see what’s going on where not many are looking, where it doesn’t count the same.

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