Mosaic chose Ye Qianwen's "Dashing Back" and Island Mood's "Dream Chaser".

Mosaic chose Ye Qianwen's "Walking in Style", and Island Mood was Feng Feifei's "Dream Chaser", both of which were once golden songs.

"Walking in Style" was born in 1991, and the era's undertones are very much in keeping with Mosaic's disco style. The opening synth breakdown and 1,4,1 drum beat give the song a very "martial arts" feel. The chorus is clean, and then the synths and winds come in during the chorus, and it's basically an alternating pattern.

The whole version is a hoot, but it feels like Excel's guitar work is limited, and that's probably intentional on his part. And the biggest detractor was Xia Ying's "recitation" -- most pure readings without flow really don't work, thankfully, not as much as last season's hedgehog's Shi Lu.

Extended listening: Secondhand Rose also adapted "Dashing Around" for the covers album Everybody's Got a Lead Singer's Heart, using a classic snippet of Michael Jackson's "Smooth Criminal" as a guitar riff, which was fun.

It's interesting to note that "Dream Chaser" is also a 1991 song, and that Luo Dayou added four lines dedicated to Sanmao to honor her, based on "Youth Without Regrets". The colors are also very much in keeping with the temperament of the Island Moods.

I wasn't a big fan of their "8+8=8" from the last installment, but the guitar arrangement and tone was a highlight, and that feature held up in this one. The Jaguar on the guitar creates a numbing graininess, and the breakdown chords punctuated by the SG on the vocals (lamenting the fact that there are fewer and fewer indie bands with humbucking guitars nowadays) fit the original sentiment of the song. The orchestration that comes in during the lead song doesn't overpower the guitar's delivery either, which is a favorable review.

The second half of the song goes into a "manic" section, which I can't help but think is an "exam" competition, and Painkiller's previous experience has taught the band that they have to have some kind of bombastic section. I have a subjective feeling that the second half of the song would have been very different if they'd left the chorus alone and just played the basic vocals, and extended the instrumental section by another 30 seconds to a minute.

If I were a mass music fan, I would have voted for Island Mood.

Five people chose Wu Bai's Last Dance from the 1996 album The End of Love, which exploded in popularity because of the smash hit "I Want to See You" this year. It's not really a good song to change because it has become an ICON in the minds of some viewers. Last Dance has replaced Norwegian Wood as Wu Bai's number one listening song.

The Five Stripes added an intro to "Dream Lisa's Hair Salon" at the beginning, which is kind of a small egg. I really like the treatment of Jenko's main part, changing the more four-square rhythm of the original to something more spontaneous and suave, but Amo's chorus has less character. As a viewer of Want to Meet You, the piping gave me a heavier sense of "traveling".

Jenko also used a Gibson SG guitar, but the tone was so undynamic that it was probably intentional. After all, he already said in the prequel that he "wanted to bring a plastic feel". It's reminiscent of the Zoom 505 or Vox StampLab entry-level synthesizer that every beginner electric guitarist buys.

Flowers was the first band to choose to adapt a big drop single, and I'm sure it's obvious to everyone how thin the original "Teenager" was ****. There's already been an awful lot of discussion on the internet about how good the remix of the song is. One off-topic discussion I'd like to have here is whether "spraying Fortuna has become a trend" .

First of all, the development of the Internet has now had an obvious "information cocoon" effect, and what we see is not reality. At least I've seen completely different discussion positions against Fortuna on various platforms. So whether or not the entire network is spewing Fortuna is still a question that needs to be investigated.

So why is it that Furukawa's adaptation is so complete, with some new additions of his own, so layered and emotional, and yet it's still hated by some people? The Five Stripes' charisma is definitely a big reason, but not only that, facing a well-born, technically strong academy, more of the general public can't get ****ty with them, which creates a feeling that Fukuroku is very fake.

At the end of the day, people who hate Rurouni don't think their music is bad, they just think it's "not infectious". There are many reasons why music isn't always as ****ty as it is refined and complete. We're all on opposite sides of the fence, but as long as we're talking rationally, we'll be fine.

If there was one thing I didn't like about the performance, it was the vocalist's diction and some of the harpist's contrived movements (e.g., banging on the harp in time with the drums), which didn't sit well with me.

If I were a fan, I would have voted for the Five Stripes on the basis of whether or not I liked the band's performance.

Both sides chose "Ride My Favorite Motorcycle," a 2018 single. Since the song is just over 2 minutes long, the chorus is simple, and the lyrics are very neutral and focused, you can basically consider a large portion of the song to be a "blank slate", leaving a lot of room for remixes.

Chair's electric piano is also used Jaguar, the size of the reverb to maintain the proper restraint, praise; tone is extremely comfortable, praise; solo in the coda, praise.

The Chairs really are a very unified band, and their remix this time is in the same vein as their first appearance, Rollin' On. There's constant repetition but it doesn't get tiresome to listen to, the songs are simply structured and the overall feel is very loose and happy. A lesser Chair Orchestra fan I've changed my mind this time around, realizing that they're very good at making trade-offs.

As indie music has evolved, the ability to subtract is an asset. Not only that, but Chairs struck me as a happy band, and it's hard to see a happy band these days, when every artist personality seems to be adding to its mission and over-examining the world, and getting back to the essence of the music, keeping it loose, is a rare quality.

White Paper finally got outside help to play synthesizers live, and it's a relief. The whole track paints a picture of a takeaway with heroic ideals turning over passion inside out.

The synth motifs are upbeat at the beginning, and after a sample of a takeout order comes to mind, the colors shift from "resting" to "working", and soon the arrangement is in full swing. The exotic riffs bring a strong sense of movie soundtracks, and there's already a series of images in my head of the delivery man picking up the order, putting on his helmet and starting up his scooter.

The main song whispers in order to create a contrast with the mood of the latter. White Paper used a lot of elements in the arrangement, obviously more than "Chair Orchestra", not so much "just right", but at least all have their own role. The interludes are raging with hormones, like the physical state of every extremely advanced delivery boy.

And the bassist's hiss at the end, along with Liu's whispered "little motorcycle," clearly tells the listener that it's all about the delivery guy's fantasy of racing, of being a city hero, and that the song's emotional turnaround is a way of pulling people back to reality. --He's just a small-time delivery guy on a scooter who has to follow the rules of the road and wear a helmet to deliver his food on time.

If I were a fan, I'd vote for both bands. If I had to choose between the two, it would have to be a subjective vote for White Paper, which I like better.

"The Maiden of the Zhuzhu" is a household name because of the 86 version of "Journey to the West", and the composer, Mr. Xu Jingqing, is arguably the originator of electronic music in China.

This version of Post Shark's rendition made me want to cry a little bit, and I thought they were a lot like the Hedgehogs, who were about to fall apart. Smaller Wu has been out of the game for a long time, and the band members all have their own plans, so it feels like Payhan is trying to take the band on a journey, and if he can't get it right, he might actually want to live a different way.

Even if the sound fixing in this installment is worse than the last one, the fans who have accumulated personal charisma don't really care much about it. It's just that the girl who was so cool back then is now coming to perform a stage song that feels rather like a spring festival, and it's more or less like a trance.

The middle part of the collective drumming to show the vitality of the part is actually an arranging idea, should be done on the basis of this more complex and more varied, because Fu Han's singing itself can not be a plus, how about the instrumental part of the get a little bit more good, but unfortunately this section is also just very quickly to the end, is only a embellishment.

On the whole, I think the biggest problem is that Fuhan's singing and the timbre of the instruments don't match up, and the instrumental part and the singing part are more serious, and in the middle of it all, I thought for a moment that Fuhan's don't-open-my-mouth song was pretty good.

Hey, let's hope everyone in Post Shark is better in the future!

Extended listening: there was an album called "You in the Red Chamber I in the West", the theme is the domestic band adapted "Journey to the West" and "Dream of the Red Chamber" in the track, Trojan horse guitarist Deng Liyuan as the lead singer of the East China Sea Longwang band adapted the "Zhuzhu Maiden", biased psychedelic, you can go to listen to see.

Big Wave did not hesitate to choose the "Love for Sale" published in 2009, can be said to be the square dance king single. When it comes to this song, let me start by telling you a joke.

In the year when Beijing's haze problem was still serious, if you couldn't tolerate the local air quality and decided to call on everyone to deal with the haze problem, shouting "get rid of the haze", you'd already started singing "Love for Sale".

As the saying goes, "the best way to eliminate fear is to face it, and cheer Ollie to", the best way to eliminate vulgarity is to put yourself into the so-called vulgarity of the whole, so that all the delicate, beautiful and elegant in their own creation of the environment completely out of breath, lost the contrast! After the coordinates, the elegance and vulgarity **** appreciation will be achieved.

New Pants is using the identity of the elite to oppose the elite, as represented by "Erebati". Big Wave took the same approach, debuting the first set with "No Such Disease" in a new wave fashion, with delicate makeup announcing that it stood in opposition to punk, and in the face of songs like "Love for Sale," which stood at the extreme point of grassroots, only by being anti-elite and dissolving the mainstream's aesthetic significance could it be transformed into something magical. So it's fitting to see Xing Xing this rendition, with its Sid Vicious lookalike, proclaiming it a return to punk.

The parts sung by Li Jian are boring by comparison, but it's a remix and the original song can't be completely discarded, so maybe that's the way it has to be. Listening to it, and then experiencing the meaning of the lyrics delivered in "Love for Sale" and the discussion it later sparked, it feels like a really punk song.

If I were a mass music fan, I'd vote for Big Wave.

We'll see you next time!