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CHINA'S UNDERGROUND PUNKS

When communist China celebrated its 60th anniversary on October 1st, its national identity seemed, more than ever, refreshingly vulnerable to change. The internet has challenged the government's control of information. Consumer culture, fuelled by the ideals of Western capitalism, has become the lifestyle of choice. And as contemporary Chinese youth embrace unprecedented levels of independence and cultural self-consciousness, another Western invention—rebellious rock 'n' roll and gritty punk music—has emerged as a rising form of creative expression.

Just as the 100 Club and CBGB fostered punk movements in London and New York City, Beijing's D-22 nightclub serves as the epicentre for its burgeoning alternative music scene. Michael Pettis, a Peking University professor who was once a fixture in New York's East Village, founded the dive bar three years ago. Though the idea of an "underground scene" is often associated with punk, D-22's small stage hosts a variety of acts, from glam rock to experimental electronic, classic rock 'n' roll and Mongolian folk music. Many bands have hard-rocking frontwomen in the vein of Karen O from the Yeah Yeah Yeahs; some sing in both Chinese and English. All eschew the country's mainstream affection for saccharine pop.

"Sound Kapital: Beijing's Music Underground" captures the scene in a collection of band portraits culled from thousands of photos taken in D-22's basement over two years. The style, humour and energy of these subjects are both authentic and familiar. These kids have quite a bit to rebel against.

Even more stimulating is the book's accompanying CD, a mix of tracks by the movement's best bands. The album includes two songs by Carsick Cars (a band that has opened for Sonic Youth and Dinosaur Jr), including its breakout hit "Zhong Nan Hai", considered the unofficial anthem of the Beijing underground. "Don't You Move" by Pet Conspiracy, which recently played a few dates in Berlin, sounds like a European dance-floor hit; Casino Demon's "Teenage" glides on a bouncy hook that would be right at home on English radio.

Matthew Niederhauser, the book's author and photographer, has had stints at the US-China relations committee and the International Centre of Photography. In the book, he acknowledges that Beijing's indie-rock scene is still in its infancy: most of the bands considered "elder statesmen" are no more than a decade old and Zhang Shouwang, the lead singer of Carsick Cars, has yet to turn 25. Niederhauser notes that the underlying sense of rebellion can come from the simple act of embracing rock 'n' roll, even if the music itself does not directly challenge (or even mention) the Chinese government. Not every band sounds a social call to arms like "Anarchy in the UK". "Sound Kapital" admirably avoids blanketing the movement with generalisations.

In a country that still prizes social conformity and restricts free speech, the bands and music fans at D-22 are experimenting with ideas of independent thought, artistry, individualism and creativity. Sounds like punk to me.

"Sound Kapital: Beijing's Music Underground", by Matthew Niederhauser (powerHouse Books), is available now.

~ ERIN DEJESUS

Images credit: Matthew Niederhauser in "Sound Kapital: Beijing's Music Underground", published by powerHouse Books