In recent days, Yang Kun and Chen Chusheng's "Mud" sung by them has been very popular, and Yang Kun has also posted related works on social accounts. Although the meaning of the chorus of this song is good, the lyrics such as "throwing mud" and "throwing stones" are questioned as inferior.
Yang Kun said that he felt bright and beautiful when he heard this song.
In contrast, Daolang's "Mountain Songs" in last year's new album, such as "Flower Demon", hints at the era with different city names in chronological order, showing unswerving love until death, advanced and moving, and the whole song does not use words such as love and affection but makes people cry.
Although pop songs do not emphasize the literary nature of the lyrics, from the selection and evaluation of songs, it can be seen that there is a big gap between Yang Kun and Daolang in terms of aesthetics and literary attainments.
Since its release, "Mud" has quickly won the hearts of the masses with its catchy chorus and positive theme.
In the lyrics, "They threw mud at me, and I took mud and planted lotus flowers; They threw stones at me, and I used stones to build a small building", which is not only down-to-earth, but also conveys an indomitable and positive attitude towards life.
It is this kind of lyrics that also makes some people question, thinking that it is slightly low and does not match Yang Kun's position as a senior singer.
Yang Kun's love and admiration for "Mud" can be seen from his behavior of publishing three related works in a row.
He bluntly praised the song as "bright and beautiful", which is not only a recognition of the song itself, but also reflects his personal aesthetic tendencies.
Such an evaluation unexpectedly sparked a controversy about Yang Kun's aesthetic level.
Some people question, as a singer with rich music experience, why did Yang Kun choose and speak highly of such a seemingly simple song?
In the world of music, aesthetics is an extremely subjective and complex concept. Yang Kun's high evaluation of "Mud" is actually a reflection of his personal aesthetic preferences.
He has expressed his unique views and pursuits for music on many occasions, and "Mud" is a microcosm of his aesthetic pursuit.
Yang Kun's aesthetics are not only limited to traditional musical elements such as timbre and vocal range, but also include a deep understanding of the connotation and artistic conception of lyrics.
I believe that an excellent song should not only have a beautiful melody, but also have lyrics that can touch people's hearts.
In "Mud", he sees the power behind the lyrics, which is a spirit of perseverance and positivity in the face of adversity. This spirit is exactly what he has always admired and pursued.
It is this difference in aesthetic preferences that creates a subtle gap between Yang Kun and Daolang, another music giant.
As a representative of original singers, Daolang's music works are almost all completed by himself, from arranging to filling in lyrics to playing musical instruments.
His new album "Mountain Songs" shows his amazing talent and profound musical skills.
The song "Flower Demon" has conquered the hearts of countless listeners with its unique narrative and deep emotional expression.
Different from the straightforwardness and down-to-earth atmosphere of "Mud", "Flower Demon" in "Song of the Mountains" shows Daolang's profound heritage as a musician with its profound artistic conception and rich emotional layer.
The whole song hints at the passage of time and the changes of love through the changes in the names of cities such as Quanting, Yuhang, Qiantang, Lin'an, and Hangcheng.
Although the lyrics do not directly mention "love" or "love", the deep longing and undying emotions make people empathize.
The success of "Flower Demon" lies in its beautiful melody and soulful singing, and in its profound connotation and unique way of expression.
It allows the listener to enjoy the music while also feeling an emotional resonance that transcends the world. This kind of resonance is where the charm of Daolang's music lies.
Although "Mud" also has its unique charm and value, there is obviously a certain gap with "Flower Demon" in terms of literary attainment and depth of artistic conception.
This gap is reflected in the level of lyrics, but also in the creator's understanding and pursuit of music.
Yang Kun's high evaluation of "Mud" has caused some controversy, but it also allows us to see his true side as a musician.
He dares to express his preferences and pursuits, and is not afraid of doubts and criticism from the outside world. This kind of courage and perseverance is a valuable quality of his musician.
Compared with Daolang, Yang Kun obviously has some room for improvement in the depth and breadth of music. With its unique music style and profound cultural heritage, Daolang is unique in the Chinese music scene.
His musical works are not only of high artistic value, but also able to touch and resonate. This kind of ability is what Yang Kun currently lacks.
That's not to say that Yang Kun's music doesn't have value or meaning. Everyone's musical aesthetics are different, and everyone's pursuit and understanding of music is also different.
Yang Kun's choice and high praise of "Mud" is the embodiment of his personal aesthetic preference.
This preference may be somewhat different from the public's perception, but it is precisely this deviation that constitutes the diversity and richness of the music world.
Looking back on Yang Kun's career, it is not difficult to find that he has experienced ups and downs from peaks to troughs. As the mentor of "The Voice of China", he once reached the peak of his career.
Due to a series of inappropriate remarks and controversial incidents, his career gradually fell into a trough.
Especially after the "Rakshasa Sea Market Turmoil" with Daolang, his public image has suffered a heavy blow, and his career seems to have dropped to the freezing point.
But there is no shortage of turning points and rebirths on the road of music.
Faced with the trough of his career, Yang Kun did not choose to give up, but re-examined his music path with a more humble and open attitude.
He began to experiment with different musical styles, working with musicians from different fields to make a breakthrough in music. This spirit of experimentation and continuous learning is his most valuable asset as a musician.
No matter what path Yang Kun chooses, we should give him enough respect and support. In the journey of music, everyone is constantly exploring, growing and surpassing.
The gap between Yang Kun and Daolang is just a microcosm of the many differences and diversity in the music world.
Let's look forward to all of them going further and further on the road of music, bringing us more excellent works and touches.
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