Like most people, I know the name Li Yu because of last summer's "Super Girl", an ordinary girl who can't bring her own sparkle and gathering when standing on the stage. And Li Yu's works are also not modern, and even appear to be somewhat weak and lonely in the rhythm of the second dimension, EDM, rock and roll, and various movements. Even so, Li Yu is still the most recognizable existence on the stage of last year's "Super Girl", all because of her creation.
Other singers often need to create a distinct personality for themselves through modeling and positioning, and the lack of distinct personality is also the main reason why many singers do not go well, especially for newcomers, the personality is more important.
For Li Yu, creation is her best personality, and it is also the root of her unique presence on a dazzling stage last year. Of course, there are many kinds of singer-songwriters, especially in this era, there are many singers who can write and sing, but not all singer-songwriters can really achieve the unity of singing.
This sounds a little illogical, but it is a fact of existence, because although some singers obviously sing songs they write, the songs he writes are songs that many people can write and write, and they cannot call such works a licensed product, but at least they lack spirituality and self-creation, and indeed they can only be said to be craftsmen, reproducing other people's routines, repeating other people's frameworks, and remnants of other people's shadows.
But in Li Yu's works, you can clearly feel the synchronization of her creation and interpretation, and you can even say that singing is only the final necessary expression process of creation. At least at this stage, Li Yu's work is still a combination of songwriting and singing, which is indispensable, and can even be said to be unsuitable for cover singing. Because Li Yu's singing process is even a kind of marginal note and flower for her self-creation, those emotional pouring, those oriental language tail tones, are also indispensable.
Or you can find a singer of similar age to make an analogy, that is, Su Yunying. Su Yunying and Li Yu can be said to be female singers who are also self-contained in their creations after Zeng Yike and have distinct personality characteristics. This kind of personality, not the personality of others, is actually more like an innate nature, can not learn, imitation is not like, open your mouth is you.
Leaving the background of the "Super Girl" stage, and then listening to Li Yu's first studio full-length album "Yu Li Yan Wu", some songs, although they have been heard in the show, have also used a new arrangement, and the famous producer Wang Yusheng and the team, plus Li Yu's personal participation in the production, although there is no grand pomp, diversified luxury team, but for her small family Jasper works, polished in such a small team way, not only can make the meaning consistent, but also maintain the focus on the musical direction.
What is good about Li Yu's creation? In the eyes of many academic teachers, or professional musicians and musicians, Li Yu's creation is simply not worth mentioning. Her creation is obviously a chant on the natural scale, even if she is used to holding the guitar in her hand, Li Yu has become accustomed to the most basic C major chords, even if the conversion of tonality, it is only with the help of the physical inflection of the transposition clip, and the fingering is still even the few fingerings of the C major chords. Such a performance mode, it is obvious that Li Yu's creative mode can also be deduced, just like Zeng Yike before, which is basically the most elementary guitar level and rookie-level creative techniques.
However, in addition to technology, music also needs an aura, the former mainly relying on training, the latter mainly relying on talent. With the help of those regular techniques, although it is possible to compose a colorful movement, it always lacks some aura and vitality. Moreover, the law of musical technique is an objective existence, you can use, he can also use, which is why many works now, why it sounds the same, because the use of harmony set melody creation method, although there is technical content, is the work of experts, with all the musical rationality and harmony, but this reverse creation, is not really a complete creation.
Li Yu's creation in the eleven works of this album is the creation of music in a really smooth direction. Her creation, rather than being labeled as a personality, is first of all based on ease. There is no skill, in Li Yu's creation, but it is an advantage that highlights spirituality. Of course, the lack of skill does not mean that Li Yu has no skills, and even writes the melody pale and crude.
In fact, Li Yu, who has no skills, has adopted the technique of borrowing strength quite well in the process of creation, although this technique is also unconscious. For example, in many works such as "Wine Monk", "Lullaby", "Sister" and so on, Li Yu actually borrows the rhyme of some folk operas, with the help of these tail notes and transpositions, to form a decorative and modified role, but also to make the tone of the fresh melody, can appear lively, vivid and interesting.
There is no technical constraint, but also let Li Yu will not write that kind of main song, chorus step by step, particularly distinctive works, but with the emotional rhythm of the chant type writing, but let her in the "distant" such works, can let the emotions to support their emotions, and thus extend the rhythm of the melody, you do not know where she will settle next, but you can also feel the picture brought by the melody, and the freedom brought by the picture.
As a Chinese songwriter, words are always a point to consider. Although some of the lyrics are written in quaint crepe, Li Yu's works really have little to do with the ancient style. Some people want to recreate a classical or ancient and modern scene with the help of the text lotus, but Li Yu's creation weakens the background of time and space, and highlights people's mood and state of mind.
Li Yu is also very clever and spirited in the contextual creation of words. In "My Wife", the "crazy aunt who does not hold an umbrella" comes alive, "I sleep in your heart and the whole body is transparent" in "Dream Painting" has tones and more imaginative and poetic, and "Sister" uses "the sweet taste and touch of melons and fruits in childhood to measure the length of the years, which not only looks natural, but also particularly vivid and chic."
When contemporary lyricists have completely become slaves to word games and enjoy the "pleasure" of pressing rhymes for the sake of rhyme, Li Yu actually reconstructs the relationship between words and artistic conception. No matter how romantic and illusory the space is, there is always a trace of someone, the kind of imprint with a heartbeat and a body temperature. For example, it is clear that it is the classical scene of "that year the Qiangdi Hu string entered the horse's hoof", but Li Yu will not fall into the pile of ancient texts and cannot extricate himself, but derives the feeling of "whose one step has no end", and the literature and art and the atmosphere are perfectly grafted.
As a potential newcomer, just writing and singing is not enough, the album "Fish in the Language" in addition to the original excellence and prominence of the work, in fact, should also thank the producer Wang Yusheng. Wang Yusheng has a good grasp of the balance between nature and industry, in order to restore Li Yu's original intention and original taste, Wang Yusheng in the background color of the arrangement, almost restored the original ecology of Li Yu Demo, but on this basis, in the way of polishing, excavate the potential in Li Yu's melody and artistic conception. This is especially reflected in the song "Distant", which is also the Li Yu that is not in the "Super Girl" stage, the Li Yu who enters another dimension on the basis of the primary color, presenting a similar beauty to Dream Pop, or li Yu in the future.
The current Li Yu, and Su Yunying of "Wild Son", do have some similarities, and their self-expression after mixing elements can also become the representative of the domestic post-90s generation of creative girls. In fact, the current Li Yu is also like the earlier Ai Jing, the gentle and sensual female singer-songwriter who can write in the vernacular, and it can even be said that the current Li Yu has a higher starting point than ai Jing at that time.
In an era of radical change, you and I are all following the tide, even if personalities have already entered the industrial system. In fact, about Li Yu's musical world, in her work "Island", there is the best interpretation: "I live in a self-sufficient island", this self-sufficiency has also achieved Li Yu's own style.
Text/Love Land People