I’ll not pretend to be aware of many bands who play a blend of traditional Chinese with reggae. Only one in fact. The name is Bagedai, I just discovered them today, and I couldn’t be happier about it.
A recent band from the reggae scene in the Yunnan region, Bagedai hail from the musically gifted town of Ximeng, and while calling their music reggae wouldn’t be so far from the truth, it would also be doing their varied sound a great disservice through oversimplification. The self titled album is a keenly stowed away trove of hidden gems. Slowly gaining traction and attention, both throughout its native region and native people, the Wa people, and internationally, featuring in radio stations such as BBC and PBS.
Listening to the album’s roomy delightfulness and groovy essence, it quickly becomes evident that the group possesses a very fresh sound that does need a Wa clansman to appreciate. The blend of traditional Chinese choirs and vocal melodies with the deep bass and drum grooves and the major keyed jubilation of upbeat reggae is nothing short of astonishing. A fun and eye opening listen. The group are also doing reggae exceptionally well, utilizing ethnic stringed instruments to create dark and charged anthems such as ‘Nan Ai Er’ with its flutes and unforgettable melodies, or using wahwah’d guitars and syncopation to create the juicy, funky goodness of ‘Deng La Jie’, it is apparent that the group are not a one-trick pony and that their music is far more than “reggae with ethnic Chinese vocals”.
Perhaps moments where Bagedai shine the brightest are the starter ‘Mou Hei Lang’, and ‘San Mulou the Just’. The two songs are heavily inspired by instruments we associate with Chinese music, with western rhythms playing a more supporting role in the formula than fronting the arrangement. The results are like nothing I ever heard before, while also feeling homely, warm, and empowering. ‘Tong San Mei’ is a breathtakingly beautiful piece. Ethereal and soothing guitars play alongside the jubilant Wa choir, blending the western reverb-laden atmosphere and chord structures with the vividly colorful Chinese vocalizing for a surreal experience that lasts far longer than the runtime of the song.
For a tribe that were practicing head-hunting in living memory, The Last Tribe of China, called so for being the last tribe to be liberated by the communist party in 1959, The Wa have embraced modernity in an endearing fashion, planting their mark on music and art in the Yunnan region. Bagedai’s essence lies in distilling the traditional songs of the Wa, and presenting them to an international audience. The group’s first, the bold, self-titled album is a triumphant success. An experience that tingles the senses, traditional, yet elegantly globe-trotting, Bagedai is a wonderful listen.