Among May’s album releases, we heard several deeply personal reflections on elders and roots. First came Chunzi by Lei Qing, released on May 1. Stripping away elaborate arrangements and affectations, he set out to make an album his grandma could understand. I already recommended this beautifully melodic and effortlessly relaxing record last month. Lei Qing’s live performances are equally remarkable. In late May, we saw him perform for the first time in Guangzhou. A drummer by background, he possesses an irresistible stage presence. Joined by longtime collaborators guitarist Wang Wei and percussionist Cola, he delivered a fluid and vividly engaging performance that left us eager to see them on stage again.
Another work that looks back to its roots comes from Su Zixu and his band The Paramecia. Through Songs of Sorrow and Joy, they convey a deep attachment to their homeland and reflect on the countless facets of life. Su Zixu also does something rare here, revisiting the highs and lows of his own eighteen-year journey in music. Though arriving from a different path, he shares a similar goal with Lei Qing: to create an album that the older generation can understand and connect with. Once again, Su Zixu & The Paramecia have produced a landmark work for Chinese music through exceptional songwriting and performance. There is little doubt that Songs of Sorrow and Joy will appear on many year-end best-of lists. Su Zixu & The Paramecia have already begun touring, and this is one of 2026’s must-hear, must-see acts.
In addition, Li Chang, the vocalist of Your Woman Sleep With Others, released an all-English solo album that serves as a conversation with himself. Meanwhile, DaWenXi Band has also embraced English-language songwriting on a new album, showcasing fresh breakthroughs in both musicianship and artistic vision.
Without further ado, it’s time to dive into May’s surprises!
Blue Curtain — The Joys and Sorrows of Once-in-a-Lifetime Encounters (EP) 1
May 8, 2026
Brief reunions, bright Taiwanese charm
All the freshness and sunshine associated with Taiwanese indie music are packed into this three-song EP, fulfilling every fantasy you might have about a band from the island.
Blue Curtain is a special band. Its members are old friends scattered across the globe who rarely get the chance to meet. They are not the typical band chasing a dream at all costs; their music exists because of the right people meeting at the right time.
The melodies lean toward an earthy and approachable folk style, while the bright female vocals immediately draw attention. As the songs unfold, more surprises emerge: rich and thoughtfully layered arrangements featuring strings weaving through the music, flowing keyboards, and touches of groove, blues, and jazz.
Three years ago, the band hinted at a second EP and then seemingly disappeared. Despite releasing only one previous EP—The Sunlit Island (2018), a work reflecting on beautiful memories and the idea of “farewell”—Blue Curtain’s impact has endured, remaining close to the hearts of listeners.
Formed in 2016 and now entering its tenth year, Blue Curtain has finally released its second EP, The Joys and Sorrows of Once-in-a-Lifetime Encounters. The band has evolved from a group of young friends who saw each other constantly into people in their thirties, each occupied with their own lives. Tied down by work and responsibilities, they are scattered across Taipei, New York, London, Tokyo, and beyond, sometimes meeting only once every six months or even once a year.
With so little time together, they decided to make music once again. In a single day at the end of 2024, they recorded the entire EP live in synchronized sessions. Much like the phrase ichigo ichie in the title, these three songs capture brief yet precious gatherings in life, singing about love in one’s thirties, confusion, and reflections on the passage of time.
Because the EP was recorded live in a single flow, the performances feel remarkably natural, and listeners can sense the excitement and enjoyment of the band members reuniting to create together once more.
By the end, the music leaves you refreshed and wanting more. Blue Curtain has already gone their separate ways again, each returning to their own pursuits. Until the next reunion, we’ll be waiting.
Su Zixu & The Paramecia — Lamenting in Delight
May 15, 2026
A wanderer’s tender heart, singing sorrow and joy
The album of the year is here.
Three years after their last full-length release, Su Zixu & The Paramecia return with Lamenting in Delight, another complete and masterfully crafted Chinese progressive rock work.
Through their formidable songwriting and performances, Su Zixu and The Paramecia have become standard-bearers for Chinese progressive rock and art rock. Every album they release feels less like a record and more like a carefully crafted work of art.
In the past, Su Zixu & The Paramecia often embraced grand, sweeping emotions and a larger-than-life sense of heroism. Yet Lamenting in Delight reveals a new restraint and subtlety. Su Zixu’s vocals are delivered mostly in an intimate, heartfelt tone, with less of the forceful and flamboyant edge heard in earlier works. The arrangements are gentler and warmer as well, rarely erupting into confrontation or cathartic release. Instead, the album unfolds with the feeling of a story quietly told.
Lamenting in Delight is a journey back to the roots for Su Zixu & The Paramecia. This time they write about the land that nurtures their people, focusing on the shared cultural foundations that connect us. Their gaze even turns inward. On the closing track, Eighteen Years Later, Su Zixu recounts his own life story after leaving home to make his way in the world. As he puts it, he wanted to create “music that our parents’ generation can understand.”
The opening track, Like Ascending a Spring Terrace, begins with delicate guitar harmonics that gradually give way to flowing strings. Against a vivid springtime backdrop, Su Zixu sings with profound emotion about the twists and turns of fate, his lingering vibrato carrying wave after wave of tenderness.
All Under Heaven Bustles is a personal favorite. Within its desolate atmosphere lies a portrait of the countless faces of human life. The melody is somber and tinged with melancholy, yet it also conveys the singer’s clarity and acceptance after seeing through the illusions of the world. Rather than leaving listeners discouraged, the song encourages a broader, calmer perspective, and that is what resonates most deeply with me.
In The Narrow Gate Remains, Su Zixu unleashes the powerful, impassioned vocal style that has become one of his trademarks. The song’s philosophically charged imagery sparks reflection and imagination in every listener.
Every track on Lamenting in Delight rewards repeated listening. The closing song, Eighteen Years Later, layers acoustic guitar and vocals in a simple, unadorned arrangement as Su Zixu tells his own story. Eighteen years of hardship, experience, and reflection flow through the performance. Most moving of all are the wordless humming passages between verses. They capture the tangled emotions of every soul who has left home in search of a future. As the song unfolds, we find ourselves shedding tears alongside Su Zixu.
Su Zixu’s music mirrors the man himself. Upright and principled, yet famous for his fiery temper, his stubborn personality drives him to pursue excellence in every aspect of his art. His lyrics draw freely from language and imagery across centuries of Chinese culture, while his compositions bridge East and West, blending classical and contemporary influences. Every member of the band is a master musician, helping transform Su Zixu’s artistic visions into something richer, more vivid, and more complete.
For music of such sophistication, the audience it attracts is remarkably engaged. Listeners savor every detail. In the comment sections, hidden experts emerge from everywhere: some analyze the complex time signatures, some marvel at the instrumental performances, some discuss the band’s artistic sensibilities, while others debate the philosophical ideas embedded in the lyrics. Even the heated arguments inspired by the songs are fascinating to read.
If Su Zixu and his band are performing in your city, don’t miss the opportunity to see them live.
Chinese American Bear — Dim Sum & Then Some
May 8, 2026
Rediscover the child that never quite grew up inside you
Chinese American Bear was named the 2025 New Artist of the Year in CareForMusic’s “Emerging Voices” awards.
This psychedelic pop duo hails from Seattle, Washington, and consists of Lingbo Anne Tong, who moved to the United States at a young age, and her husband Bryce Barsten. The two have been sweethearts since high school.
Dim Sum & Then Some is their third album, a celebration of the things they love most: good food and the simple joys of everyday life. Chinese American Bear specializes in minimalist bilingual songwriting in both English and Chinese. Their music is consistently lighthearted, playful, and full of delight. The joy arrives in a direct, unfiltered way that is impossible to resist. At times, the songs may even feel like nursery rhymes, but listen more closely to the arrangements and you’ll discover something far more sophisticated than first meets the ear.
Take Chant (Namo Amitabha Buddha), for example. Though built around a single Buddhist phrase, the track gradually expands under its carefree rhythm, layer upon layer, growing into a finely detailed and majestic sonic structure. Another song, Mama, which repeatedly calls out “It’s time to eat,” is built upon irresistibly danceable funk grooves. Intricate strings, guitar, and bass intertwine to elevate the anticipation and excitement that comes before a meal.
Chinese American Bear draws heavily from the psychedelic music of the 1960s and 1970s while injecting a mischievous palette of electronic sounds. By decorating traditional pop foundations with experimental touches, they have crafted a musical identity that feels open-minded, curious, and endlessly imaginative.
P.S. For those raising children, consider playing Chinese American Bear’s music for them. It’s hard to imagine a better choice when it comes to cultivating musical appreciation and creativity at an early age.
DaWenXi Band — From Grey To Gold
May 26, 2026
The richness, DaWenXi style
Rather than presenting opinions or rushing to convey a particular message, DaWenXi uses this English-language album to document a collection of essay-like reflections and passing thoughts.
“In an era overflowing with the urge to express, we wanted to try ‘un-expressing,’” said vocalist Monkey in the album’s promotional materials. “Our lives are often surrounded by meaning and value, but moments of daydreaming and drifting off should also be allowed and respected.”
Within the ecosystem of Chinese-language music, both artists and listeners often seek meaning and emotional resonance. This time, DaWenXi moves in the opposite direction, encouraging people not to use someone else’s melodies as a vehicle for their own declarations. There is no rush to guide, explain, or summarize anything. Instead, the band simply lets the sounds emerging from the cracks of the city find their way into the listener’s chest.
The album’s emotional palette follows its title, gradually shifting from cold grayness toward brightness and warmth. As the songs unfold, listeners can travel alongside that emotional arc, watching the clouds part and eventually catching a glimpse of golden light.
From a sonic perspective, DaWenXi has clearly poured tremendous care into the album, filling it with innovative ideas and experiments. Their command of melody has become increasingly refined. The opening track, Paper Plane, features a captivating guitar motif that anchors the song, while the organ passage in its latter half is equally striking. Waiting For You features a guest vocal performance by Helen Feng, the lead singer of Nova Heart. Together, the male and female vocals evoke a deep, chilly atmosphere reminiscent of medieval Europe, while the bass and guitar tones are deliberately shaped into something hauntingly cold. My Body incorporates lush string arrangements, Cannonball bursts with manic synthesizer textures, and Dream On threads exhilarating rhythmic variations through traditional rock guitar work. Throughout the album, DaWenXi demonstrates remarkable growth in its command of musical language. Instruments become flexible tools at the band’s disposal, resulting in a listening experience that feels vivid, agile, and constantly surprising. The closing title track, From Grey To Gold, is especially memorable, transitioning from soft rock through a saxophone-led bridge before leaping headfirst into the dazzling colors of a disco dance floor.
By stripping away overt meaning, DaWenXi has devoted itself to constructing an album built upon musicality and sonic expression. The result is a distinctive form of alternative Chinese rock that invites listeners to climb toward a more fascinating and rewarding level of aesthetic appreciation.
Gu Zhongshan Trio — Pocket People
May 9, 2026
Step into Gu’s pocket and let your imagination run free!
Pocket People is the first full-length album in six years from renowned jazz guitarist Gu Zhongshan. The record explores the fusion of jazz harmony and funk music. Gu describes “pocket” as an elusive yet perfect space where everything blends together seamlessly. The term also carries another meaning in music: the state in which musicians lock into the groove with complete mutual understanding. This synchronized, silky-smooth interplay is often described as being “in the pocket.”
The trio of Gu Zhongshan, bassist Fred Grenade, and drummer Nicholas McBride embodies that very idea. Their chemistry makes them true “pocket people,” and the album revolves around three key elements: distinctive instrumental tones, memorable melodies, and irresistibly infectious rhythms.
When the technical side of a style becomes especially intricate, musicians can easily become absorbed in the craftsmanship itself.
As an ordinary listener, however, I often wonder what this kind of highly technical music offers someone like me, since I neither play an instrument nor understand music theory. It reminds me of seeing guitar virtuoso Cory Wong perform at The Wiltern in Los Angeles. Even without any formal musical training, I was completely captivated by the energy and brilliance of his performance, experiencing firsthand the wonder of human beings creating and performing music.
To me, truly great music can transcend analysis and technical understanding. It bypasses all the details and reaches directly into the heart, leaving you immersed in its spell. The new album from the Gu Zhongshan Trio works in exactly that way. These compositions are not merely demonstrations for guitar students or showcases for technical masters. You can just as easily ride along with Gu’s explosive playing, letting your mind wander wherever it pleases while the exhilarating music sweeps through your body and imagination.
Jazz guitarist Zhang Xiongguan once shared his thoughts on how to appreciate jazz music. In an interview he gave me in 2017, he said that the first step is to approach jazz with the right mindset: “Some people think jazz is something very distant from our lives, as if it’s music that can only be appreciated while wearing a suit and tie and sitting properly in a concert hall. I don’t think that’s true. In its early days, jazz was music for ordinary people—after work, they’d go to a bar, have a drink, dance together, and enjoy themselves. That’s the environment jazz came from. So first of all, people shouldn’t think of it as something distant.”
His second piece of advice was to begin with the rhythm. “Starting with the rhythm is probably the best entry point. Jazz harmony can indeed be complex, and some melodies can be complicated too, but the pulse of jazz is easy to feel because its sense of groove is so strong. Many dance styles are closely connected to jazz. Early swing music, for example, was inseparable from swing dancing. Swing bands performed for young people who wanted to dance, so if listeners focus on the rhythm, they’ll find jazz much easier to understand.”
With that in mind, if you’re new to Gu Zhongshan’s latest album, I’d recommend starting with the track Party Loop. Climb aboard its fast-moving groove, take off at full speed, and let the ride begin.
LICHANG.rar — CIAO
May 14, 2026
If you’re living under cloudy skies too
While Your Woman Sleep With Others is on hiatus, frontman Chang Li-Chang has transformed himself into the compressed file “LICHANG.rar,” quietly working away on a full-length solo project and releasing the album CIAO.
While Li-Chang was asleep, his cat Sadowsky slipped out of the house. He searched desperately, praying, consulting fortune tellers, staying up through the night looking for the cat, and even mistakenly caught the wrong one at one point. In the end, he turned to a professional cat catcher and was reunited with his beloved pet after 26 days. Yet amid the joy, he found himself wondering why the cat had lingered near home the entire time but never actually came back inside.
The emotional ups and downs of losing a cat for 26 days and then getting it back are woven throughout CIAO. As you study the lyrics, the disappearance of a beloved pet unfolds into waves of complicated emotions. Unlike his work with the band, which often focused on larger themes or other people’s stories, CIAO lifts the curtain on Li-Chang’s own inner world. There are reflections on life’s circumstances, observations on relationships where feelings are not always returned, and moments of self-dialogue inspired by the cat’s temporary departure. Even though some tracks are driven by brisk rhythms, the album as a whole carries a melancholic tone, expressing lingering sadness and contemplation.
The album is a journey through loss, companionship, and rediscovering oneself. In the album notes, Li-Chang writes: “CIAO may sound like a collection of love songs, but in truth, some of these words were spoken to an empty living room. What we’re waiting for isn’t always someone else to return—it may be ourselves.” In Italian, “CIAO” means both goodbye and hello, a single word that captures the dual states of reunion and separation.
Throughout CIAO, you can still hear the core spirit of Li-Chang’s folk singer-songwriter roots, now elevated by rock-driven rhythms and enriched with colorful harmonies and inventive instrumentation. The result is a style of alternative folk that feels simultaneously relaxed and melancholy.
Li-Chang says that if anyone else finds themselves living beneath cloudy skies, he highly recommends taking this album as prescribed.
Waiting for the Right Moment — Too Many Bitter Days Gone By
May 10, 2026
Serious emotions from a rising rock newcomer
Too Many Bitter Days Gone By is the debut album from Jiaxing-based band Waiting for the Right Moment. Bursting with the raw freshness and fearless energy of a young band, it channels a powerful sense of fate through post-punk’s driving rhythms and rough-edged soundscapes.
The band blends a considerable amount of psychedelic rock into its post-punk foundation. According to the group, Too Many Bitter Days Gone By is meant to feel like a life telling its own story. A farmer on the plains, whose tears contain nothing but corn and wheat, is surrounded by an overwhelming sense of destiny. He struggles, rebels, and ultimately accepts his fate, until everything dissolves into time and space.
There is something deeply captivating about the band’s rock energy. Whether the farmer’s story at the center of the album comes from lived experience or pure imagination remains unclear, but the persistent spirit of rebellion running through the music, combined with lyrics full of criticism and reflection, gives their work remarkable conviction.
The band says that most of its creative inspiration comes from everyday details, drawing material from dreams and moments of contemplation. Through abstract metaphors, resolute instrumental performances, and vocals that shift between whispers, murmurs, and cries, they hope to communicate a profound and serious emotional force to the outside world.
They have succeeded.
Liang Yiyuan & Li Daiguo — A Study of Romantic and Marital Behavior in the New Era
May 20, 2026
Experimental music takes on love and marriage
At first glance, the album cover appears to feature the Chinese character 囍 (“double happiness”), the traditional symbol of marriage. Look a little closer, however, and the character 苦 (“suffering”) seems to gain the upper hand.
It’s hard to imagine how an instrumental album—let alone an experimental one—might portray romantic and marital behavior.
So perhaps the best place to begin is with the track titles themselves, which offer clues to the album’s intentions: A Critique of Neo-Confucian Marital Rituals, Nora’s Eighth Departure, Miss Wu’s Unserious Binary Marriage, The Original Sin of Platonic Love in Schizophrenia, The Paradox of Demanding a Bride Price While Opposing Concubinage, Growing Tired of One Another Before Marriage, Liquidating the Emotional Extensions of Premarital Relationships…
These somewhat lengthy titles may serve as prompts, guiding listeners toward particular associations and reflections as they engage with the music. What conclusions listeners draw is another matter entirely. Perhaps some will come away even more disillusioned with love and marriage than before.
The album carries a subtle sense of irony toward modern relationships. According to the creators, the work explores contemporary Chinese views on marriage: “The suona, an instrument long associated with wedding ceremonies, serves as the album’s central character and narrative voice. Through it, we tell the story of how love becomes woven into our lives amid constantly evolving social expectations and customs. Accompanying the suona are numerous other instruments that together create frequencies that resonate with the inner self, including cello, guzheng, yangqin, and piano. The album vividly portrays the strange yet fascinating form that modern marriage has evolved into today.”
The album notes conclude with a special clarification: both Liang Yiyuan and Li Daiguo enjoy happy and fulfilling marriages themselves…Haha?
Terence Lam — FIVE EASY PIECES (EP)
May 29, 2026
Terence Lam’s nostalgic karaoke session
A short Cantonese covers EP paying tribute to the legendary Hong Kong composer Joseph Koo.
Old songs, newly sung, yet their charm remains intact. Across all five tracks, the original arrangements retain their period character, with the instrumentation and orchestration preserved from Joseph Koo’s original works. In many ways, Terence Lam has staged his own karaoke session. His vocals are treated with generous reverb, echoing the production style commonly found in Hong Kong pop music of the 1980s and 1990s—where the accompaniment serves primarily as support while the lead vocal is pushed unmistakably to the front of the mix.
Paint a Rainbow was originally the theme song for the 1984 TVB drama of the same name, first performed by Danny Chan. Its uplifting lyrics and melody encourage listeners to maintain confidence in the face of adversity. Meet Again Someday was originally sung by Albert Au as the theme song for the television drama Love Melody. The harmonica elements from the original recording are echoed in this new version, expressing the melancholy of parting and the helplessness that often accompanies life’s twists and turns. The Tycoon, originally the theme song for the 1977 television series of the same name, was a collaboration between Joseph Koo and legendary lyricist James Wong. First recorded by Paula Tsui and later famously covered by Leslie Cheung, it receives another reinterpretation here from Terence Lam. His soft and heartfelt vocals convey the feeling of thoughtful advice delivered with openness, wisdom, and calm. Family Affection was the theme song for the 1980 drama of the same name, also featuring lyrics by James Wong and originally performed by Roman Tam. Like many television theme songs of its era, it closely mirrors the emotions and destinies of the characters on screen, allowing the story to continue through the music itself. The final track, When I Was Young, comes from the children’s television series of the same name and paints a picture of innocent childhood life—fittingly arriving just in time for Children’s Day.
Classic songs live on through new voices. As for how Terence Lam’s interpretations measure up, you’ll have to listen and decide for yourself.
Every time you finish reading one of our roundups, doesn’t it make the Chinese music scene feel vibrant, energetic, and full of life? Which great albums did you discover in May? Feel free to share your favorites with us in the comments!
Previous Editions:
April Music Picks: Welcome Summer With These 8 Wonderful Albums
Q1 2026 Music Picks: 8 Endlessly Replayable Albums to Soundtrack Your Spring
- An EP (Extended Play) typically refers to a short-form record containing between two and six tracks. ↩︎
