Sky Pestle and Mortar's grows in the soil of traditional music

There are so many styles of Tibetan music that we can't get enough of them. The lama who leads the sutra in the temple will use a very heavy bass voice, which is very thick and ****ing loud, and we want to add this sound to the music. Playing the Aga song, listen carefully, especially comfortable, it is male and female duet, and the rhythm is different, if at that point with our instruments and rhythm, out certainly have a very good feeling. There are also Tibetan opera raps and rumtas that can be added to rap rhythms. ......

The six boys and six musicians in the pestle and mortar regard every inch of Tibetan land as an inexhaustible source of creativity, and they are full of confidence in their future musical journey.

There were people in Tibet who tried their hand at rock music in the early 1990s, but their exposure to Western music and culture was not comprehensive and thorough, and because of social limitations, rock did not flourish because of them. The Tingpest and Mortar were born to bridge traditional folk music and Western music, with a strong love of Western music and a strong love of folk music since they were young. They use clever means to combine the unique elements of Tibetan music with emerging hip-hop, rap, r&b, blues and other forms of music to form their own characteristics. Among them, the use of Zhanenqin can be called a masterpiece. The Zanenqin, also known as the six-stringed zither, is a unique ethnic instrument of Tibet, and its sound is Tibetan. It plays a special role in the whole album, marking the fact that these songs, which consist of fashionable musical elements, are from the ancient plateau. When they introduced the combination of six-string and rock, they said: many ethnic instruments can play modern things, which is mainly because the idea can't come out, the old-fashioned concept is at work, thinking that traditional instruments can only play traditional music, which remains unchanged for hundreds or thousands of years. As long as the idea comes out, you can make a lot of good things. Like Cui Jian, the first rock musician in China, used suona and guzheng in rock music in the 1980s, and the Xinjiang rock band Askar also successfully combined Dongbula with their music. In Tibet, they are the first to combine ethnic instruments with rock music. According to Bian Luo, a famous Tibetan lyricist and composer, everyone has a different point of capture. In the music of Tien Pestle and Mortar, there are some orchestrations and melodies that, at a glance in the professional field, seem like an easy thing to do, and are often overlooked, but they have absorbed exactly that and treat it as a flashpoint, which is totally different.

Possibly because of the music that Tien Pestle brings to the table that speaks to people, or because Tien Pestle has made the whole of Tibetan music buzz, Tien Pestle's first self-titled album was released to considerable fanfare in Lhasa, with all sectors of the community expressing varying degrees of concern. Although we cannot predict or comment on the impact of the emergence of Tibetan rock music on traditional Tibetan music, or whether it will be beneficial or detrimental to Tibetan music and culture, we can say that the content of Tibetan music and culture has been enriched and diversified, or at least this is a new attempt. In the era of continuous social development, increasing openness, and accelerated cultural integration of different countries, the emergence of Tibetan rock music proves that Tibetan traditional music is moving forward.