OMNIPOTENT YOUTH SOCIETY

The Americas and Europe are kind of the big stars in the whole prog camp. I mean, with acts like King Crimson or Kansas it is pretty easy to see why, but I think stuff over in Asia, particularly Eastern Asia should get some fair amount, or even equal love too. Obviously Japan is the most popular Asian country that specializes in prog, with groups like Sigh, Koenjihyakkei, Ruins, and Far East Family Band giving the world some tasty prog. Aside from Japan though, you really do not hear many prog groups from places like Korea, or Mongolia. In fact, a lot of Asian countries in general do not quite have a lot of huge prog namesakes, unlike Japan, America, and Europe, which is honestly disappointing to hear, because prog over in Asia sounds fantastic, at least from the stuff I have heard so far. However, I think eventually those bands over across the pacific will get their due, as shown from the promisingly rated Omnipotent Youth Society's Inside The Cable Temple.

Omnipotent Youth Society, or OYS is a Chinese contemporary prog band that formed in 1996 in Shijiazhuang, led by Dong Yaqian. The band would release their first single in 2006, but wouldn't release their first full length album until 2010, where they made their self titled record. While over in the west their LP flew over people's heads, in China it became a smash hit, with the band winning 'band of the year' in China's Music Media Awards. 10 years later they would release another smash hit in the form of Inside The Cable Temple, which, while not winning them a 'band of the year' status, did win them huge amounts of recognition, which culminated in being the musical representation of the Dongbei renaissance, and a grant of recognition, particularly to their bassist Ji Geng.

All this too say, they've also become quite popular over in the west recently, at least to some extent. In RYM, this album places #21 for 2020, which, while not particularly super high, is quite great, especially next to highly rated albums like Anthem Of The Dead, The Normal Album, and Lianne La Havas. To be frank here, I believe this album should get all the credit it deserves, because it really is a great tour de force.

First off, I am quite amazed by the vibrancy of this record. Like, wow, they really put out a sound that really is THEM. The music has a chamber jazzy folk sound, kinda like iamthemorning's Lighthouse, but with a more rock output, and a vibe that reminds me particularly of King Crimson's Islands. That's probably the best way to describe their sound, and even then they really craft things into their own foot works. From the second track alone, 泥河 (Ni He), I get swept off my feet with seriously amazing prog rock. Each song, not accounting for the two 1 minute tracks, are just extremely good, and overtime, with each listen, I find myself not knowing which track is their best on here. Sometimes I think it is 河北墨麒麟 (He Bei Mo Qi Lin), and other times it feels like I might prefer 采石 (Cai Shi). Each song has their own flavors, but still keeps up with that brilliantly executed sound that gets me rolling.

I think each player here has some level of magic in their musical output. Dong Yaquin's vocals and acoustic are extremely good, with an almost Greg Lake-like falsetto and progression to his singing and playing styles. Ji Geng's bass, as well as Shit Lee's trumpet & flute, Feng Jiang's drums, and Sule's guitar skills are also all very great, and they honestly hold a strong knack to my ears, crafting these wonderful soundscapes.

Now, I would mention stuff relating to the album's concepts, however I do not know Chinese, in fact I do not know any Asian languages, but from what I could gather from this album's wiki page, it is about the mountains that surround the band's home city, the Taihang Mountains, and the results of heavy amounts of pollution within the area. It's funny how this is the third album I have reviewed that is based on mountains, first Sorni Nai, then Alturas de Machu Pichu, and now this. Guess something about concept records about mountains really gets my gears rolling. Discretions aside, and comprehension aside, I can tell from Yaquin's singing that the lyrics are a treat to behold, and I can see why a lot of people in China ranked this record very highly due to such a poignant concept.

Again, my favorite track on this record changes a lot, but right now I think it's 河北墨麒麟 (He Bei Mo Qi Lin). The track goes through a series of brilliantly executed stylings, some of which give off energies from more Crimson- esque math rock and fusiony jazz rock, but again, presented in a way that is very distinctly OYS. I absolutely love the ending of this song too, just how it builds up into a wall of chaos and noise, almost like the mountains this record is based on are crumbling down, with the band giving them a final eulogy in the form of an 11 minute express. It works extremely well to me, and in tandem with the final track of 郊眠寺 (Jiao Mian Si), creates for a stunning climax and eulogy for this mountain of a record.

I think this record fills a similar niche that albums like Dark Side Of The Moon, Mew And The Glass Handed Kites, and Night fill, being this one long track split into multiple, extraordinary songs. I am honestly surprised this album isn't as popular within the prog crowd, it's really good! I really do recommend this one, it holds some of the best Eastern Asian prog you can ask for, and it's a great treat for those who adore acts like Islands era King Crimson, iamthemorning, and Phideaux. Can't wait to see what they make next in another 10 years. I will be patient.

One need not understand Mandarin to feel the depth of emotion in this album. Despite this I encourage listeners to find a good translation of the lyrics, the poetry of Ji Geng's song writing elevates what was already an instrumentally brilliant album. It soars through it's eclectic mix of styles with purpose and morose, gentle folk is lifted up by Shi Li's beautiful sections on trumpet before the alternative rock guitar and drums bring you back down. The selection of instruments creates a sound that maintains interest from start to finish, I found myself getting annoyed any time the headphones had to come off. Every single song hits and the album is cohesive, definitely recommend a first listen that runs through the entire track listing. If this album wasn't hidden behind a cultural curtain and language barrier I am convinced it would be a staple for a lot of western listeners. I am very lucky to have stumbled upon it by chance, it is one that I will be keeping on frequent rotation for the foreseeable.

早 A brass intro that captures the feeling of a peaceful morning walk through the titular Hebei forest. Immediately entrance and captures your attention long enough until...

泥河 A striking chord opens up a new track that incorporates a string section with jazz influences. That then turns into a folksy. Doesn't let you forget some of those softer chords that postrock loves to use. The vocal melody is spectacular. The break in the middle with the high singing strings and the guitar, horns, and lower strings playing in unison. Yes, more! The song breaks again into what feels like noise music being incorporated and slides into the same motif as earlier but heavier, still holding onto that fiddly violin. The chorus vocal melody is sung again but this time holy sh*t they make it now like something Lynard Skynard would solo over on Freebird! This section is exemplary of how this band ramps up the end of their songs. This idea will be taken to a whole another level in 河北墨麒麟。

平等云雾 Starts with a bell chime that sounds like a Tibetan singing bowl with some overtones from various sources, including the guitar, the whacky bell instrument (vibraslap), and other tuned percussions, while some tremolo chords drone in the background. Gives the piece a nice ambiance leading to...

采石 that jazzy chord progression delicately balances post-rock elements in there. The drums and bass give a slow progression with beats emphasizing the 1 and 3 strongly. The vocal kicks in, and blends all the elements seamlessly. The same section picks up in rhythm strumming in swung 8ths on beats 1 and 3 again. The jazz chords kick in one more time with some piano now! Yes! it keeps the soft texture it had in the beginning and ramps the rhythm to emphasize quarter notes more. Starts to feel like a lo-fi track almost. The chorus and pre-chorus come back in again, but it's a variation. The oo vocal melody accompanied by the trumpet is so sweet. Everything breaks again with an interlude befitting a lofi-drop. There's another interlude but I don't feel it does much, other than having the piano arpeggiate. It's saved after the vocals kick in with trumpets feeling like they came out of a Noir film! Epic. The trumpets get the high note and a free jazz piano solo starts sweeping everywhere. Static and explosions start creeping as a john Coltrane sax solo accompanies the piano's freestyling. Suddenly this rock motif with the snare breaks the pattern just for a brief moment before everything goes back to ramping up in their respective regards. And from the midst of all this chaos is a trumpet line that is singing and piercing through trying to lead us back to safe grounds. But the most chill explosion eventually rumbles over everything and fades out, leaving you rattled.

山雀 While you're still rattled from the previous section, shakers start this track. The vocal melody starts leading to some folky acoustic guitar. The vocal melody is going to be developed further, so make note of it. A folky bass, flute, and percussion section break the repeated vocal section. Something that sounds like a harp or harpsichord introduces everything. An interlude with a beautiful clarinet solo changes harmonically significantly from what we heard so far, but it doesn't take long for them to transition back to the motif, and the vocal melody -- now an octave higher, is accompanied by a classic rock beat. (Damn those vocal harms). I've never heard a humming harmony sound so beautiful. Then a guitar unison riff starts ramping up the intensity of the song in the style of king crimson. It's broken up again with a jazzy interlude with the bass hammering on the quarter notes, the riff is then repeated, and back to that jazzy section, but this time the trumpet gets to solo! After the solo, a weird guitar effect that almost sounds like a midi playback pushes into a rock interlude, which is a segue to what I believe is a tenor or baritone sax solo. This is definitely a jazz jam session. The rock riff returns as they head to this jazz jam session and ends the song.

河北墨麒麟 MY F*CKING FAVOURITE PIECE IN THIS WHOLE ALBUM. Chill ambient intro in 5/4 with the bass and drums dancing together. Guitar, brass, wind, swelling, and the spaces filled with overly processed sound bites. Drums fill hits, and a pan 8th notes guitar tap melody counter punctually fill the stereo space leading to the melodic motif, delivered by strings and brass playing in unison. The section ends on a high, but not its highest, silents out to bring back the same atmosphere as the beginning but this time introducing the vocals. A guitar interlude breaks up the first verse to introduce the second verse with the same intensity, with just a tad bit more vocal harmonies. Then that trumpet starts singing letting us know it's its time. This sends us back to the tapped melody on the guitar leading us to the motif of this album that they will build on, but this time with an overarching vocal melody. The song breaks again the same way it did the first time but subverts our expectation as the trumpet sings a modest line softly thrusting us into what I could only describe as a rock/bebop symphonic brass section. The tap melody again - the rock/bebop symphonic brass section again, ending on a high note. Bass and drums play it chill up until the clarinet now takes over the same part that the trumpet was playing and the strings take over what the brass was doing. The contrast is chiller and stark. Repeats twice. The strings end it again, leading to a slow ramp from something that feels very soft to demonic screeching! This busts us back to the main motif which from here on out is just going to be developed, developed, developed, developed, developed. Please, notice the drums, because it does a lot to make this section come alive. The chorus line is back with a backing vocal melody. Guitar kicks to solo over this beginning dementia. Vocals are back and bigger, the strings start creeping, and a squealing trumpet welcomes what can only be described as black metal growls. The strings become louder and louder as everything else dies away, leaving the strings to bid us a bitter farewell. This song is amazing and should be on your list for one of the best eclectic prog songs you'll ever hear.

郊眠寺 Wind chimes and swelling strings help to relax you again from another devastating journey from the previous tracks. Gives you safety and comfort as the chords are picked and strummed along with those soft strings. Finally, a doubled vocal line feels very reassuring. Like a guardian's voice ensuring your safety. Shifts to a guitar and vocal melody that only cements how safe and happy we are to be here. Ukuleles enter the ensemble, adding another layer of that innocence. I have no idea what he's singing, but it feels like a bitter sweet farewell. For a good while you're comfortable in the warm embrace of the vocals, guitars, and ukulele, then a beautiful string quartet interlude plays to break up everything for a little. The verse comes back again with this delightful whistling sound in the background that feels so playful. The development in this track is never to ramp up, but just to secure this peacefulness that started the song. It also acts as a call back to 泥河 the track that "started" the album. For me felt like they tied the whole thing up in a beautiful bow, a thank you for coming with them, a nod to those who paid attention. The track ends with strings swelling and cutting out with a large bow stroke.

The album is a must. If the intention of the artist was to take you through a walk in the forest of Hebei, then you're in for a ride. Because I believe this walk is not about what he sees, or what he hears, but what develops in his mind while on this journey. It is a classic come-full-circle kind of experience that I would recommend any musically inclined individual to embark.

I will leave this review with some negative comments: the production value is certainly subpar. If you're an audiophile, you will not find this album enjoyable. Maybe there was some sacrifice to the quality to ensure that they could record all the ensembles they had. Personally, I don't mind something that sounds a little raw. However, though the production in audio quality is poorer for its contemporaries at times, there were some sections that felt over-produced to the point where I was left wondering: How will they every perform this live. Admittedly, I had the same concerns listening to other albums like Cardiacs, only to discover that they pretty much perform their crazy recording stunts live. But in the case of this album, I just find it improbable that they'll ever be able to reproduce this in any setting other than the mixing bench.

This album was still an absolute joy to listen to, and that's why I give it a 5/5

Despite hosting the largest population on the entire planet, China has not exactly been prolific in producing legions of stellar art rock and more progressive leaning groups although a scant few have emerged as China continues its fast-paced development into the brave new world. One of the most interesting bands to have emerged from the city of Schijiazhuang in Hebei province was the OMNIPOTENT YOUTH SOCIETY aka 万能青年旅店 in its Chinese character form. This collective began all the way back in 1996 under the moniker The Nico before changing it to the current one in 2002.

As OMNIPOTENT YOUTH SOCIETY, the band headlined major festivals in China after its self-titled debut was finally completed and released in 2010 which made the band an national sensation. That album told the tale of life in a huge industrial city and the trials and tribulations that ensued. The band's sound incorporated rock guitar riffs that added the jazzy extras of trumpet and sax parts. Rather than focusing on rushing out a sophomore effort, OMNIPOTENT YOUTH SOCIETY opted to attract a larger fanbase through incessant touring and after all was said and done it took an entire decade to bring the followup to fruition.

At long last in 2020 the second album INSIDE THE CABLE TEMPLE 冀西南林路行 has emerged. SInce Mandarin Chinese is so very very different than Western languages, the English title INSIDE THE CABLE TEMPLE is not a direct translation which would be more something like "A Walk In The Woods Of Southwestern Hebei" which also hints more upon what the actual theme of the album is, namely by taking a 180 from the focus on city life and instead celebrating the natural wonders that can be found in Hebei province. All lyrics are in Mandarin Chinese so the concept of the album will be completely lost to all but those who speak the language but despite the language barrier, China has finally entered the prog scene.

INSIDE THE CABLE TEMPLE 冀西南林路行 is an art rock album that incorporates elements of progressive rock, jazz-rock, chamber folk and jazz-fusion and appears as a single 44 minute track as well as eight separated tracks but so far as only been released as a digital file. While clearly inspired by Western acts such as Pink Floyd's space rock, the 90s pop folk of Blind Melon as well as violin and cello led chamber rock bands with sprinklings of other bands, the album mostly breezes by in acoustic guitar mode with a few traditional Chinese sounds added. While the focus is clearly on the storyline and lyrics, this album may not appeal to non-Chinese speakers but nevertheless features some beautiful melodic hooks and clearly displays how even a tonal language such as Mandarin Chinese can be adapted to Western musical styles and still sound beautiful. Only occasional outbursts of rock and jazz occur making this a rather mellow album.

While the idea and concept are good ones, i can't say the execution of INSIDE THE CABLE TEMPLE 冀西 南林路行 is as satisfying as i'd like it to be. Basically the album seems unbalanced with too much folk rock and only scatterings of other styles. I really wanted the more rocking parts to stick around longer as well as the jazzier motifs but the default setting always ventures towards dreamy acoustic guitar led strumming sessions with light safe as milk vocal utterances. Considering i have no idea of the sensibilities of popular music in China i can only go by my own preferences as to how i relate to this music and in the end i find it an interesting and even entertaining listening experience but i can't seem to shake off the fact that it needs a bit more compositional fortitude to really compete with the Western art rock scene which has a half century head start. Still though China is emerging quickly so i'm confident that better things are to come.

3.5 stars