In recent years, when brushing short videos and participating in some large-scale music programs, I often find such a phenomenon, that is, there are really more and more young female singers who imitate Wei Ruxuan's interpretation style.
What is Wei Ruxuan's style, that is, the kind of vocal expression that has obvious doll tone characteristics and often oscillates between sweet and strange, which is both gentle and willful. And why imitate Wei Ruxuan? It's cute and personal, of course, and it sounds different.
This also reminds me of the period around the millennium, almost half of the female singers in the Chinese music scene, when singing, always avoid Faye Wong's singing voice, especially the flowing tail note, which has become a symbol of the times.
Of course, there are many singers who learn like Faye Wong, but there is only one real Faye Wong, and this law and conclusion, put on Waa Wei Ruxuan, also applies.
For Wei Ruxuan, the so-called singing style is often just a representation, a form of presentation. The reason why it has become a style comes not only from an aesthetic accumulation, but also from the irrigation of multiple elements.
In part, Waa's seventh solo album, Have A NICE DAY! It is a record that interprets the charm and characteristics of Wei Ruxuan's music very well. It is enough to show that the personal style that waa has established for so many years is not only the timbre characteristics of singing, but only the modes of vocalization, but includes a complete set of musical aesthetics and expression systems, which are indispensable.
It's like HAVE A NICE DAY! This album is, first of all, an extremely human, individualized, and even very warm album. It is not divorced from real life and presents a deliberate personality, but based on the details of life itself, to ferment the inherent coolness of waa. This coolness, which is special, is also real.
In "HAVE A NICE DAY! In this album, it must first mention "Grandma", "Very Small", "Have A Nice Day", "Transformers" and "Grand Prize". These works cover family affection, love and self, and the three-dimensional presentation of these three dimensions, because of the close relationship with Wei Ruxuan's life, makes these works full of temperature, humidity, heat and strength.
Ge Dawei's lyrics in the work "The Great Award" almost completely present wei Ruxuan before and after becoming a golden song, the details in front of and behind the scenes, on and off the stage, without dead ends, written brightly and daily. "Very Small and Small" about love does not have the sweetness and warmth of the routine, but it uses such quantifiers as small to present a kind of understanding of Wei Ruxuan from feelings to life. Small can be infinitely small, small can also be infinitely large, which also makes a love song full of philosophy and profundity.
"HAVE A NICE DAY" and "Transformers" are both works written by Wei Ruxuan to her son Louis, the former's light humor, the latter's crying laughter and madness, but also presents the two sides of waa as a mother, both strong and gentle. For fans who have become parents, there will be more resonance in these two songs about companionship and growth.
And from the "La Dolce Vita" period to this "HAVE A NICE DAY!" From a girl to a woman, from a girl in love, to having a child and becoming a mother. This road follows Wei Ruxuan, in addition to the continuous evolution of her music, you can also hear from these seven albums that a person has really experienced and grown. And when this growth is synchronized with the expression of music, the growth of music naturally becomes warmer.
Of course, among the works on the theme of life, the most touching one is undoubtedly the "Grandma".
Songs with grandma as the theme are actually not uncommon in ancient and modern China and abroad. Even so, I still want to say that Wei Ruxuan's "Grandma" is the most unique one. This uniqueness mainly comes from two places, one is the wonderful role swap processing, and the other is the structural processing with strong musical attributes.
In the work "Grandma", Wei Ruxuan's interpretation is not only a kind of remembrance and thoughts, but also more like using that doll's voice to coax the grandmother who has coaxed herself countless times. This exchange of role positions not only sounds very novel, but also breaks the boundaries of time and space, allowing warmth and love to spread infinitely in the space of music.
On the other hand, in this song, there are also samples of the Japanese folk song "Momotaro" and the old Chinese song "Girl Eighteen Flowers". The former is the song that Wei Ruxuan's grandmother often sang to her when she was a child, and the latter is also a popular divine comedy that belongs to her grandmother's era. This kind of historical use not only restores the memory scene very well, but also makes the work like both a movie and a documentary, and between the virtual and the real, it has a richer artistic conception than the work of simply missing family affection.
In addition to the embodiment of the true life in the music, the charm of Wei Ruxuan's music lies in her continuous attempts and constant changes. Through continuous extension and expansion, through the collision with different musicians and different musical styles, the so-called waa-style singing style does not only stay at the technical level of certain statements, but also becomes a perpetual motion state with unlimited possibilities.
Like in this new album, Wei Ruxuan has made unexpected cooperation with three groups of musicians from different regions and completely different styles, Namely, Xian Yuzhenya, Jude and "Shadow Project".
The cooperation between Wei Ruxuan and Xian Yu Zhenya in "The Flower Seller" is also the collision of two "grotesque" musicians in China and South Korea, Chinese, Korean and English, the extreme challenge of the 21-degree sound range, and the two singers not only maintain their strong personal musical styles, but also alienate and complement each other in interaction, and also create a sense of beauty that collides without conflicting with the cooperative works.
"April is a Suitable Day to Lie" is based on the lyrics of Wei Ruxuan's cousin Li Ruizhe, composed by Jude and sung in chorus. The unbridled and structural lyrics, coupled with Jude's free melodic creation, make this song become imaginative and boundless without the framework of traditional songs, forming a dream linkage that is vaguely strange to each other but feels sorry for each other.
"My Dish", which cooperated with the "Shadow Project", is also Wei Ruxuan's first attempt at hip-hop works. And this work also reflects Wei Ruxuan's very good grasp of the degree between trying and true color. This attempt is not blind and follows the trend, even if singing hip-hop, Wei Ruxuan also maintains his own vocal range, his own timbre, and the posture that belongs to Waa.
As a result, there is a Wei Ruxuan who always maintains a good balance between innovation and authenticity. The former brings her unlimited musical possibilities, and lets the latter, under the leadership of the former, continue to grow and expand, so that the personality and true color also gradually grow, thus laying a solid foundation for innovation.
Just like in this album, the crossover of "Shibuya music" in "Nothing to Cry", the attempt at experimental electronics with producer Chen Jianqi in "Beauty", and the use of improvisational jazz and Scat in "The Great Award", Wei Ruxuan's music is because of this flexible collision, collision and non-fracture, and finally makes his music rich, rich, rich, plump, plump and fruitful.
Therefore, if you want to imitate Wei Ruxuan, you must enter her music world, along with her life, her emotions, and her musical aesthetic, and grow up together to better imitate. But even so, you are just imitating, and you can't become another waa after all.
If you want to be a unique musician, you still have to be yourself. Let the inside determine your style, and let the style always be full of flexibility and vividness.
Have a Nice Day！