CHINESE POSTPUNK ANTHOLOGY
We keep a gathering of records, loosely sewn from scattered remnants, not yet pressed into a shape.
Ricky Maymi and Beijing Underground
Beijing’s underground rock scene enjoyed its ‘golden age’ in the late 2000s. However, as the 2010s began, that vibrancy started to fade. A combination of mounting pressure from the authorities, venue closures and changes in the personal lives of musicians prompted many groups to dissolve or go on hiatus. The once-thriving scene entered a so-called ‘winter period’ or ‘blank era’. That said, harsh conditions for underground music were nothing new. The scene, while battered, continued to move with relentless energy.
One particularly striking development during this time was the rapid rise of psychedelic rock. The reason behind this surge remains unclear, but from the early 2010s onward, the genre began to gain significant momentum—ultimately forming a new pillar of the scene alongside post-punk and experimental music.
When I think of psychedelic rock in China, it’s hard not to recall Ricky Maymi of The Brian Jonestown Massacre. The San Francisco-born guitarist is widely recognized as a passionate advocate for Chinese rock, having spent years supporting its growth and global exposure.
So, this article takes a slight detour to explore Maymi’s deepening relationship with Chinese indie music.
Ricky Maymi and Chinese Indie Music
Enrique Rene Maymi, better known as Ricky Maymi, is a guitarist and founding member of the acclaimed psyche-rock band The Brian Jonestown Massacre (BJM), well-known through the documentary film Dig!. He left the band for a time during filming, but later rejoined and now lives in Australia, while taking part in various projects around the world, including BJM.
Serendipitous Encounter with Chinese Rock in Australia
Maymi’s first encounter with Beijing’s underground rock music dates back to the summer of 2012. When he was staying in Australia, he came across a suitcase full of CDs that a local friend had brought back from Beijing. Most of them were releases from two key Beijing labels: Maybe Mars and Modern Sky. The music blew his mind. He sensed in it a dynamism long lost in Western rock, and immediately reached out to Maybe Mars.
Six months later, he supported a North American tour for three of the label’s bands: Carsick Cars, White+, and The Gar. From that point on, he played a key role in helping Maybe Mars artists to reach international audiences. At around the same time, Maymi also established Far Out Distant Sounds, a platform designed to promote Chinese indie music abroad and facilitate its distribution outside of China.
First Contact with Birdstriking
Among Maymi’s many friendships with Chinese artists, his connection with Birdstriking stands out. Fueled by the No Beijing movement, they had moved to the capital to form a band. They began performing in 2009 and quickly gained recognition for their catchy melodies, distinctive psychedelic edge, and punk attitude. Their self-titled debut album, released by Maybe Mars in 2012, was soon banned by the authorities due to problematic lyrics in several songs. The original version of the album is still available internationally, but only the censored version is allowed to publish in their homeland.
While it is unclear whether Maymi encountered the original or the censored version, it is safe to say that it made a strong impression on him. He reached out to guitarist Wang Xinjun via Facebook. At the time, Wang was studying in Cardiff, which enabled the two of them to communicate freely from the ‘Great Firewall’. One of Maymi’s oft-quoted remarks was likely inspired by conversations that took place during this period: “To be in a band in China was the equivalent of being in a Dungeons and Dragons group.” It’s a hobby that you can’t talk about openly.
In 2014, Birdstriking joined BJM on their UK tour. The deciding factor was the upcoming reissue of their debut album on BJM’s A Recordings label. The young band made a serious impression on crowds on their seven-city tour, with reactions and CD sales far exceeding their expectations. The experience gave the band a boost of confidence.
In May 2015, Birdstriking launched their first North American tour to coincide with the reissue of their debut album on A Recordings. Maymi reportedly accompanied them as tour manager during the month-long tour.
Visit to China and Album Production
After this tour, Maymi flew to Beijing. During his stay, he produced Birdstriking’s follow-up album, as well as albums for Gate to Otherside and TOW. Yang Fan of TOW, who had already produced several local bands, was impressed by Maymi’s professionalism and unwavering attention to detail. She later spoke admiringly of his decisiveness and efficiency. For example, he insisted that each side of the album run for under 20 minutes to accommodate future LP releases.
The trip gave Maymi the opportunity to experience Beijing’s underground music scene firsthand. While being shown around, he fell in love with the city’s vibrant community.
The Guardian Beast of the West
In autumn 2017, Sun Heting — the fifth member of Birdstriking and the frontman of Gate to Otherside — had a spark of inspiration and sought Maymi’s help to develop it. The two began jamming in the studio, with Sun on guitar and Maymi on drums. Visiting friends joined them for three days of experimental improvisation, yielding a rich trove of music.
These recordings were later refined with overdubs and post-production, and were released in 2018 as three singles under the name Baihu (White Tiger) via Ruby Eyes Records — a Beijing-based indie label run by Li Qing of Carsick Cars.
According to Sun, the name—drawn from the sacred beast of Chinese mythology—symbolizes a fusion of East and West, pointing toward a transcendence of such artificial divisions.
In May 2019, the band released a full-length album titled Power of the Light, Beauty of the Shadow, adding a few more tracks to the earlier singles. Though relatively short in length, the album was structured to keep each side under 20 minutes—true to Maymi’s LP-conscious philosophy.
They also sought a new drummer to replace Maymi, who could not commit fully, and planned to release new material and embark on an international tour. However, these plans were derailed by the outbreak of COVID-19. Baihu ceased activity following the release of an EP in May 2020.
Though short-lived, Baihu left a lasting impact on China’s music scene. Its cosmopolitan makeup and bold sound spotlighted the potential of psychedelic rock.
No Real Conclusion
There have been no visible collaborations between Ricky Maymi and Chinese bands since the pandemic. Nevertheless, he appears to be in regular contact with musicians in Beijing and continues to follow the scene. It’s certainly worth keeping an eye on his future moves.