[Author: Chu Zhi
Genre: Rock / Electronic / Pop
Tags: Death and Conquest
Summary: The debut album by Chinese singer Chu Zhi is a long conquest journey. The album is divided into three distinct styles, moving from south, west, and north toward death. With the singer holding the reins in the east, any lapse and the album would splinter.
You never know what to expect when opening a new door. Chu Zhi's first English album blends grandeur, electronic music, and hard rock, keeping chaos firmly under his feet.
Immigrant Song explores despair and death. Napoleon said, "Enduring pain requires more courage than facing death." Pain is never worth glorifying, and to glorify it is pure despair.
His opening cries rise above a backdrop of intertwining bass and guitars, sounding like the voice of a murdered giant.
Heavy guitars and bass, layered with Gatling-style riffs, create an epic narrative, while equally strong drums bridge the music, exuding the courage to kill despair and death.
A song that could have satisfied the masses instead conveys the prickly emergence from death's mud.
Counting Stars enters the ear with "flavor that matches its cost," like a transaction, where money buys better things.
Looking down from the airplane, buildings appear tiny. Expense and achievement fill every melody.
Chu Zhi does not stretch electronic lines for show but instead asserts independence, raising the platform of life another level.
With life shaking the gods and the astounding title track, he establishes the album's ambition, balancing hope in despair with courage in death, achieving both self-melting and external stimulation.
Multiple tracks feature granular guitar fragments embedded in the framework. Under such grand themes, no song is sleep-inducing, and it severs sentimental continuation.
Suddenly, a trapdoor opens, revealing a cathartic scene: screaming guitar solos, cymbals hitting drums with low bass beats, pounding bass, and a style torn with flesh and blood.
The One Gazed Upon by Gods uses pure energy to let you scale the black mountains ahead, giving you the courage to cross!
The album is not flawless. Themes and motifs sometimes fail to communicate, like two colleagues from the same company who are not close. Songs share similar themes but differ drastically in style. Overall cohesion relies on Chu Zhi's vocal energy.]
Pitchfork gave the album a 9.2, ranking it as the best new album of the month, and the highest score of the year so far.
Even though the year has just begun, last year's highest-rated album was 9.1, showing the scale of this achievement.
To clarify, Pitchfork reviewed all ten tracks individually before giving an overall album rating.
Some evaluations were abstract and not fully quoted. If curious, readers in parallel worlds could Google it. Earthlings might need to ask someone in a parallel universe.
The One Gazed Upon by Gods made a splash. As mentioned, Pitchfork's site attracts a lot of traffic. A 9+ rating drew numerous "work-focused" fans.
These fans exist globally. They are not attached to specific stars or bands but celebrate excellent or impressive works.
"The Chinese singer's album is great. I bought it immediately, but I've been hearing it everywhere; nightclubs keep playing this track."
"Nightclubs? Did ASCAP get the license so fast?"
"It seems the songs were in clubs right after release. The gay bar I frequent started playing them about two weeks ago."
"That album's promotion resources are impressive."
"I thought I entered the wrong site. Is this Metacritic?"
ASCAP (American Society of Composers, Authors, and Publishers) can be understood as the largest U.S. copyright intermediary. Chu Zhi's team granted rights to ASCAP. Public venues like nightclubs, KTVs, and bars pay licensing fees.
Revenue is split 60/40; Chu Zhi receives 40 percent.
It's acceptable for a newcomer. The first album achieved its goal: gaining recognition and market entry.
Mainstream albums either come from the early days 20–30 years ago or risk poor reviews on Pitchfork. Fans accustomed to the site expect niche albums to be recommended and mainstream albums to be critiqued.
Thus, comments suggested the site felt like Metacritic, concentrating well-known reviewers. In film, Rotten Tomatoes and IMDb are familiar references, but Hollywood media often consult Metacritic for evaluations.
Pitchfork's accumulated reputation allowed readers to assume, "Although mainstream, a high score implies quality."
Originally released fifteen days prior, The One Gazed Upon by Gods maintained over 10,000 daily sales in North America. Pitchfork's praise reversed the market trend, restoring daily sales to over 20,000.
Many monitored Chu Zhi's sales: fans, collaborators, and temporary allies.
Temporary allies, because in business there are no absolute friendships, except for Koguchi Yoshihiro, a devoted fan.
Koguchi Yoshihiro recently had trouble. A friend, a handsome actor, was exposed for extramarital affairs. Even worse, both the man and woman were married to each other, damaging Koguchi Yoshihiro's reputation.
In his heart, Koguchi Yoshihiro thought Chu Zhi was the perfect idol.
He was stuck in a mess, but let that pass.
"Who says it's not worth it? Who dares to claim my deal isn't worth it?!" Yamato Masahito, small in stature but big in spirit, shouted.
Beside him were Secretary Koji and Special Productions Department Chief Shinonosuke. Though taller, their aura was suppressed.
Technically, everyone in Sony Music Japan is taller than Yamato Masahito. He is short.
"Executive Yamato's strategic vision surpasses those clueless board members. Don't waste time with them," Secretary Koji agreed.
Praise gave Yamato satisfaction. Indeed, the company needed him for success.
Sony is one of the world's top four music companies. Chu Zhi has the potential to become a global star. An early collaboration was a wise investment.
"How did negotiations with the Chinese side go?" Yamato Masahito asked.
The Special Productions Department is a temporary team leader role in many Japanese companies.
"Negotiations are complete. Chu Zhi's priorities are clear," Shinonosuke replied. "The main theme he wants for the album is Live Toward Death."
"How long will it take?" Yamato Masahito asked, uninterested in themes. Chu Zhi writes songs, no guidance required.
"About six months, as production and songwriting take time," Shinonosuke answered honestly.
Six months means a September release, a long wait. Yamato thought the album could be imperfect; promotion could drive sales.
"Provide everything necessary to cooperate," Yamato Masahito said. "Since it's in Japanese, MV filming will need local artists. You know what to do."
"Of course!" Shinonosuke confirmed, using their company's talent.
With more attention, positive reviews expanded, creating a virtuous cycle.
The new album received acclaim not only in America but from magazines and industry professionals worldwide.
For example, the British magazine NME (New Musical Express), comparable to Rolling Stone, gave especially glowing reviews.
["I seem to know the meaning of chuzhi:
C = creativity
H = hope
U = unique
Z = zenith
H = hero
I = impressive
The One Gazed Upon by Gods may be Chu Zhi's career peak. All ten songs could be singles.
Very creative. Chu Zhi's voice carries a rare sense of faith, giving hope. Two songs moved me to tears."]
This review was written by the music critic Paris, British but writing for a UK magazine under a pen name.
The One Gazed Upon by Gods also received praise in France, Germany, the Netherlands, Norway, and other countries.
The achievements and timing were perfect:
Aiguo's official Weibo:
[#Chu Zhi New Album#
Congratulations to Chu Zhi's The One Gazed Upon by Gods. First week, it debuted at #5 on the Billboard 200, now it is #1!
The single Bones spent two weeks on the Billboard Hot 100, now #8.
Billboard rankings are based on sales, radio, and streaming data, representing one of the most authoritative music charts in the U.S. and Europe.
@Eating a Big Orange]
The global SPO chart rankings hold real weight. As mentioned before, in Europe and America, it even surpasses Billboard in scope, but because Chu Zhi's fame wasn't yet obvious, it's often skipped over.
The Billboard 200 and Billboard 100 are the core charts, unlike the "World Digital Single Sales Chart" that top domestic stars like to flaunt. That one is easier to manipulate.
Aiguo's official Weibo: [#Chu Zhi New Album# Congratulations to Chu Zhi's new album, with sales in Europe and America reaching 542,000 in two weeks. The new album's songs will hit major music platforms in a week.]
One day before these posts, the album already began selling in more than ten Asian cities, including Japan, Korea, Thailand, and Russia. Even though Aurora only one artist, the channels she controls are unparalleled across Asia, let alone domestically.
Seven days later, roughly twenty days after the album's release in Europe and America, Little Fruits could listen to it for free on local platforms.
Once the posts went live, all promotional resources were already in place. The scene was like detonating three thousand tons of TNT.
"I saw someone post about it in Orang Home a couple of days ago. Hahaha, the official account finally made an announcement. Let's shout, Jiu-yé forever!"
"I feel like the company isn't really focused on promoting brother Jiu. I asked a friend to get the album two weeks ago, and only now they announce it officially."
"New album upstairs? Be careful not to buy fakes. If you send it to me, I can check."
"Hahaha, I heard that counting from Banana City."
"Still a week to wait for it. Brother Jiu's English album is so exciting."
The Little Fruits were gleeful. Instead of the fake "foreign gold plating," their idol had firmly established himself in Europe and America.
This wasn't about worshiping the West; recognition abroad simply expanded the fanbase.
The core of promotion was twofold: first, increase Little Fruits' pride. Even superficial fans can't refuse seeing their idol improve.
Second, attract onlookers to see how talented the artist is and convert them into fans.
Concrete achievements genuinely shocked outsiders. Aside from Hong Kong's Golden Age of film, Chinese artists mostly relied on kung fu to enter Hollywood. When had Chinese entertainment ever pushed back against Hollywood?
America exports culture through Hollywood, and the fashion industry is dominated by Europe and America, making it extremely difficult for Asian stars to gain fame in Hollywood.
South Korea provides a benchmark for breaking into Hollywood's music market; almost every month, a South Korean band album charts on the Billboard 200.
My Stream Technique_Whirling Petals: "Chu Zhi is truly amazing. My friend in Germany told me the album made it onto their sales charts. Strong performance across Europe."
Pink Newbie: "542,000 copies. Chu Zhi is no longer satisfied with the title of Asian King."
Scarlet Weak Voice: "No wonder Chu Zhi is considered a cultural ambassador. Truly powerful."
Weilan Soul Girl: "The album is strong, but the key is he really shows integrity. Unlike other stars who avoid responsibility, he handles issues with the right values."
Cyril16: "What the heck? Chu Zhi is already conquering Europe and America?"
Comments varied widely.
For those not following entertainment, Chu Zhi is a well-known positive-energy singer in Asia.
The promotion made it clear: Asia is mostly conquered, and now he's expanding into Europe and America.
Domestic entertainment is generally relaxed. Shocked as they were, Chu Zhi fans were constantly surprised.
"Captain is heading to Europe and America, I know he will succeed. But gaining fame with the first album? Isn't that a bit much? My big brother even needs to save the game!" muttered esports girl Cai Jia while reading the news.
"This is basically a cheat code. You'd get banned in a game," Cai Jia muttered, reading the news on Chu Zhi's Instagram.
Asian promotion was not neglected. Similar messages appeared on Instagram, Facebook, and Twitter.
"Baka, baka yaru!"
"Why are these foolish white people so lacking in musical discernment?!"
"Just wait. This Chinese artist will become a mountain over your heads."
The furious and powerless was Higuchi Hanato, praised as Asia's number-one guitarist. He had wanted to befriend Chu Zhi, but Chu Zhi refused to mingle, so he turned against him.
Higuchi Hanato's last words were telling: "a mountain over your heads." Chu Zhi's popularity was literally blocking Japanese and Korean idols.
Chu Zhi's national recognition was not perfect. Each country has its own "Andy Lau," a face known for decades.
The critical point: Chu Zhi captured most of the top-tier spending fanbase.
Touching a nerve, Chu Zhi's English album sold 1.86 million copies on its first day in Asia, roughly matching predictions. Sales didn't surpass the last fan-dedicated album, but it was still formidable.
Japan alone contributed 418,000 copies on day one. Higuchi Hanabito's total career sales of 1,272,500 copies, accumulated over twenty-five albums across decades, would soon be surpassed by this single album. Terrifying.
"Asia might reach 3 million, Europe and America over 1 million, maybe breaking 5 million. In the 21st century, who can still sell 5 million copies with one album? How is this possible?"
The more Higuchi Hanato thought, the worse he felt. He refused to accept someone so powerful in Asia.
Irritated, a phone call arrived. His impatience softened slightly upon seeing the caller.
The callers were Sony Music Executive Yamato Masahito and Marketing Manager, showing proper respect to the massive Higuchi Hanato.
The conversation began with polite greetings.
"Yamato-san, may I ask the purpose of today's call?" Higuchi Hanato asked.
"There is something I need your help with," Yamato Masahito said.
"Please go ahead, Yamato-san," Higuchi Hanato replied.
"Chu Zhi is releasing a Japanese album or EP, likely a full album. We hope Higuchi-san can act as an album recommender," Yamato Masahito stated.
An album recommender is an unspoken practice in Japan: when an artist releases an album, they invite two established singers to endorse it.
This custom began in the Showa era when agencies controlled many artists. Loyalty was important, so senior singers often promoted a colleague's release.
Although Japanese music agencies were weakened by the 1990 Anti-Boryokudan Law, the practice persisted, evolving into inviting senior artists to strengthen promotion.
"Me as Chu Zhi's Japanese album recommender?" Higuchi Hanato thought, Do I even qualify?
"I plan to invite Higuchi-san and Koguchi-san. Koguchi Yoshihiro has performed at national concerts multiple times and leads the new generation. Higuchi-san is a rock OG. You two are the most suitable."
Yamato Masahito had been introduced to Chu Zhi by Koguchi Yoshihiro. Previously, Koguchi was a devoted fan; Yamato learned from him, surpassing his teacher.
Now the King of fans is under media scrutiny. Yamato's approach helps Koguchi Yoshihiro. Yamato is pragmatic but genuinely kind to Koguchi Yoshihiro.
"I will definitely accept Yamato-san's invitation," Higuchi Hanato said.
Yamato Masahito was satisfied. They chatted briefly before hanging up. He regarded Chu Zhi's Japanese album—and the promotion at headquarters—with high importance.
After the call, Higuchi Hanato looked at the newspaper praising The One Gazed Upon by Gods, mumbling: "Maybe this album isn't so bad."
He felt a subtle thrill at being chosen as Chu Zhi's Japanese album recommender.