Children in Love, formerly known as Western Moon | 胡月

I’m in love with Children in Love, formerly known as Western Moon | 胡月, currently known as the band who’s really hard to find on the Internet. I love their music, I truly do, and they are charming people. I have done my best to find the kind of information which you, my reader(1), will find useful.

To quote my friend Bart, Children in Love’s music can be considered: “[Electronic], neo-classical, dream pop-ish… jesus, never mind these labels.”

To quote Children in Love’s Facebook page, their music is best described by the following genres: “Sci-fi 科幻, electronic 電子, rock 搖滾, pop 流行, classical 古典.”

I first heard Children in Love at Witch House, a venerable old Taipei Live House(2). I’d popped over because it was a terrible, awful kind of week, and I needed to do a thing – get the heck out of my apartment – and their music seemed interesting from the flyer’s brief description. I showed up, got a gigantic glass of alcohol handed to me by the Witch House staff, and then fell in love.

Children in Love’s music mixes almost orchestral complexity with electronic music concepts and sounds, coupled with the primary vocals of Xu Yajie 許雅捷 who has one of the loveliest singing voices I’ve ever heard. Their music is dreamlike, cyclical, and wandering, pulling you in deeper with curiosity and sweetness, while never quite letting you go. Children in Love has songs in both English and Mandarin Chinese, and the best way to understand them is to just listen:

Wasn’t that awesome? Yes, yes it was.

Earlier, I mentioned that Children in Love is really hard to find on the Internet. There were not a lot of resources or sources of information about them when they were Western Moon | 胡月, but it’s now even a little messier since they’ve recently changed their name.

I believe that a lot of the current difficulty in finding this group is due to the migration from some older user/channel names on various services, to the new Children in Love name. I hope that the move will be finished soon, so that it’ll become easier for fans both old and new to discover their music.

At the moment, dear reader, I am here to help! By help, I mean enable you to listen to their songs, go to their shows and buy their music, so that they can always keep producing music. Forever. Ahem. Here’s where you can find them!

Official Website: Children in Love

Facebook: Children in Love: FB

YouTube: Children in Love: Official YouTube Channel

iNDIEVOX: Children in Love: iNDIEVOX

iTunes: Children in Love: iTunes

Spotify: Children in Love: Spotify

Go, have fun listening!

Footnotes

(1) I use the singular ‘reader’ because although it has not yet been empirically proved that my readership is a number greater than zero, I am a hopeful person.

(2) Live House is the term in Taiwan for a space – sometimes a cafe by day, music performance venue by night – which hosts live music shows. Live Houses are usually not purpose-built concert halls, and thus are not particularly acoustically robust. Rather, Live Houses are sort of ad-hoc spaces that transform into music venues. Live Houses’ purpose in the Taiwanese indie music scene is showcasing rising bands by offering places for fans to see their favorite groups, or discover new ones. The line between amateur and professional blurs, as various Live Houses may or may not have the following services: ticket pre-sales, audio engineers, seating, sound equipment, food and beverage service, etc.

The dividing line between a Live House and full-fledged professional venue seems to be whether the space is fully licensed and properly zoned, as well as operating with full-cooperation from the local government. Typically, only performance spaces associated with government or cultural institutions can meet this very high bar. Live Houses, by their very nature as semi ad-hoc spaces, fall into a legal grey zone.

A Live House is a legal construct, in that the term ‘Live House’ has a special standing within Taiwan’s law. However, the actual definition of a Live House is apparently quite vague: [音樂展演空間業], which I’ll translate as [a music performance space operated for business purposes]. This space will [提供音響、燈光、硬體設備之展演場所,供從事大眾普遍接受之音樂藝文創作者現場演出音樂為主要營業內容之營利事業], roughly translated as a Live House is a space which [will offer music, lighting, and general technical hardware associated with performances, for the purpose running a business in which live-performance of music is the primary source of revenue]. There are restrictions on where a Live House can operate, with only commercial zones being absolutely okay. As a result of being unable to afford most commercial zones, the majority of Live Houses are either flat-out illegal, or what I’d refer to as operating in a grey zone on a ‘hope that the neighbors don’t complain’-basis.

Taipei Professional Venues: National Concert Hall and National Theater Hall, Taipei Cultural Center, etc.

Taipei Live Houses: Legacy, Witch House, Revolver, The Wall, etc.

I hope you have enjoyed this very long footnote. For those of you who have made it this far, over in the corner there are cheese and crackers, and some left-over boxed wine. Only the best for my footnote friends!

Bibliography

Bart, A Line Conversation in Which I Annoy Bart, 2016.03.12.

Children in Love, accessed 2016.03.15, https://www.facebook.com/WesternMoonMusic.

“[追蹤專題] 一窺Live House法規爭議,” 政大大學報, 2015.06.15, http://uonlineblog.blogspot.com/2015/06/live-house.html.

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