Yang Naiwen's high and cold singing temperament is not achieved overnight.
This kind of mourning and detachment from the moment of debut is gradually deepened. She seems to rely on the producer and the team to control the direction, but her singing makes all the embellishments become her inner rich self-production, and becomes a part of her. Singing coldly, the heart is hot, in addition to the distinctive feminist label, she also has a very iconic musical personality.
The original "One" and "Silence", carrying the epitome of niche Western British rock, are progressive and unified in style. Based on the guitar rock tone, the arrangement is heavy and complicated, but the temperament is light, and the second album is a bold attempt at electric sound. During this period, she cooperated with musicians such as Wu Bai, Chen Shanni, Zhang Zhenyue, Chen Qizhen, etc., and entered the music scene as a rock muse, but also drew the best nourishment from the Chinese music scene.
The third "Should" is a turning point, the popularity of "Evidence" does not care about the unexpected; and next, Yang Naiwen found his own balance in the dual identity switch between pop and rock, the style change and unchanged are all her, and the modification of the strings also makes the temperament of the whole album jump out of the normal state of rock and roll, adding more rich pop elements. The cooperation with Wu Qingfeng, Fan Xiaoxuan, Chen Jianqi, Mars Radio and others has allowed Yang Naiwen to find his own musical position in different scene themes, and has become a brilliant and maverick music pioneer in the Chinese music scene. To "The Masked Singer Will Guess" and "Singer 2019" can support this diverse and beautiful parallel musical image.
22 years after his debut, Yang Naiwen is like a footnote to my music review - the more beautiful the more invisible, the more diverse the Yang Naiwen.
Of course, the first six words, "The more beautiful the more invisible", are also the title of Yang Naiwen's new album released three years after violating the music scene.
It emphasizes a kind of incompatibility and inability to bind in the theme, and the song conveys a beautiful independence. Coupled with the cover's extreme "aesthetic" close-up of the red face and the outer edge framed in green, how can this not be a touching conveyance of beauty?
Of course, Yang Naiwen in "The More Beautiful the More Invisible" does not want to leave these to the audience, she is working with many outstanding musicians in the music industry: singing is one thing, but experimentation and free creation are another.
Guo Ding, Chen Junhao, Xu Jiaying, Ge Dawei, Wei Li'an, Song Nianyu, Xu Jun, Zhou Yaohui, Lan Xiaoyi and others, any one of you who pulls out this common lineup of golden songs is the promoter of the torrent of Chinese music, and they have also created a Chinese album for Yang Naiwen to redefine Yang Naiwen, an annual Chinese masterpiece that won the golden song ticket without pressure, and an image that leads the trend of the times.
In "The More Beautiful the More Invisible", Yang Naiwen's multiple aspects, especially the emotional bit by bit, are transmitted through this, allowing us to see her special and not special.
The first two main songs released can feel the pioneering rock spirit of Yang Naiwen in this album.
Composed by Guo Ding and lyrics by Ge Dawei, "The Book of Repentance", from the melody to the lyrics, is destined to be unpleasant and out of place, its theme is "apologize for false accusations", and the end of the song is wrapped up with a one-minute Outro monologue, forming a style different from the universal popular gold song.
In this song, both Guo Ding and Ge Dawei have undergone a kind of "change", in the details of the modification, and the theme of the song intentionally or unintentionally a kind of deviation, jumping out of the conventional skeleton, in the re-accessories of the modification and strings to find a balance. The "Book of Repentance", which continues to deepen along the Alternating route, this paranoid creation and Yang Naiwen's slightly non-cannibalistic singing stimulate each other and run into each other, thus giving birth to a contradictory entanglement. Repentance can be a person's thinking after the fall, and not repenting is precisely the choice of most people, Yang Naiwen expressed his perspective from the side in the way of singing, reached out to touch the crowd to feel all regrets, and confessed everything in the confessional room in a way of reading white.
"Let me repent, it is my fault", the unrepentant repentance letter is indeed a very good topic thrown by Yang Naiwen to the audience.
And "Elegy of the Nobility" closely inherits the dark temperament of contradiction and masochism in the "Book of Repentance", which is more experimental and futuristic. The noise of the opening Intro, the electronic psychedelic rhyme in the middle, the pop Trap of the chorus, and the laying out of guitar, bass and electronic synthesizer tones, the whole song derives a strong and vast musical theater style. In particular, the arrangement of "Elegy of the Nobility", the combination of psychedelic rock with heavy sound strength and string configuration, all make the presentation of this song blank, but also unfinished.
Compared with previous works, the temperament of this song is closer to the frontier in Yang Naiwen's music, and also collides with a different sense of hearing with the hidden image of "vampire obsessed with past glory". Its endogenous "cinematic feeling" allows you to get enough information through the song in the first place.
Look at its MV again, too. Join Lei Guangxia's narration, the dim and hazy tones add a shake shot, swimming out of the innate temperament of violent aesthetics, if others don't mention that you still think you are watching "Terminator" or the vampire series movies.
The first two songs are like a continuation, "The More Beautiful the More Invisible" basically establishes its outward, emotional contradictory temperament, with remorse and retention to support the mood of the entire album.
However, the strength of Yang Naiwen and the creators did not unfold under the paving of these two songs, but buried one musical foreshadowing after another, not using a style to characterize, but creating a "pluralistic Yang Naiwen" musical style.
"Now" is my favorite song on the entire album. Li Liangchen's demo is straightforward and simple, the words are gradually deepened, and Chen Junhao's arrangement is rich and changeable. The song is based on TripHop, with an electronic synthesizer tone foil, and the structure of the whole song is both the simple texture of a folk song and the complex emotions that slide into psychedelic electronic rock—it is like a regret that flashes back to a fragment of life after a hangover. After the first two songs that were almost crazy, the song used a rich singing form to pull the audience back to reality at once.
Therefore, if you look at Yang Naiwen's singing, it is definitely a high-level song with a level. First unfolded in a changing tune and a murmur, mixed with a long inflection hum, and then through the melody to promote the mood, gently completed the fall to rock. There are many levels in a song, which is very effective.
Of course, each album of Naiwen will not be less than love songs, which together constitute the "lyrical Yang Naiwen" in this album, which is the component of "beauty".
"Road Fool" is the love song bearer of the album, like "Centrifugal Force" 2.0, which satisfies the fans' obsession with "Lyrical Yang Naiwen". The melody highly reflects The unique Vocal of Naiwen, and the arrangement is filled with mournful emotional profiles, and this song has become a model of urban love songs that have become popular among the public.
"No More" with Xu Jun is not only a songwriter, but also the only duet on the entire album, and the two tell stories in a storytelling way, retaining the original taste of the song, leaving blank space in the sense of listening, and emotionally unfinished.
Wei Lian's tailor-made love song for Yang Naiwen, "Between Love and You", is the simplest accessory of the entire album. With a faint sense of loneliness and melancholy, the acoustic guitar tone and Yang Naiwen's vocals have been blended, facing the heart and facing the loneliness.
Of course, the album also has another lonely song, that is, Song Nianyu and Ge Dawei's "Land of Right and Wrong" created for Yang Naiwen, which is connected with her musical aura. Colloquialism and emotion become the core of the lyrics. While the arrangement samples some psychedelic electronic synthesizer sounds, the lyrics focus on the mood of "autism", not to give the listener an answer.
In addition, the album also has a lot of bold innovation and self-breakthrough tracks, making everything more diverse -
The dance-style "Body Sing", which was modulated by the sunset flying car to produce an experimental electronic charm, did not violate the harmony at all on Naiwen, but flashed a spark of fascination and sexiness, which sounded unconventional and had a great sense of substitution; "Delusional" seemed to be the core of rock, but thanks to the free creative spirit of Xu Jiaying and Blue Evil, the melody and arrangement were quite eye-catching, drums and strong rhythms, like a "delusional" music singing.
As for the finale song of the whole album, "The more beautiful the more invisible", Yang Naiwen was given an echoing "unfinished to be continued" through Guo Ding and Zhou Yaohui. Whether it is the drum beat of The Intro at the beginning, or a few sexy magnetic long notes in the main song, they are like an unpolished work of art. In this song, the sense of atmosphere of the arrangement, firmly wrapped around the song, shows another kind of beauty, but also the invisible beauty that truly belongs to Yang Naiwen.
This kind of beauty is also, to some extent, what Yang Naiwen really wants the public to see in "The More Beautiful the More Invisible".