Looking back, it feels like my relationship with Endy goes back more than recently. Trolling through my Discogs orders I see that my oldest purchase from the man behind Groove Bunny Records was in 2017 – a copy of Mich Live’s Message From Heart which y’all finally got a chance to listen to in 2019. However, I have to say, I feel like I must have scoured his collection sometime long before, perhaps on eBay or other parts, unknown.
I swear I’ve seen his iconic “Groove Bunny” stickers in some padded envelope for longer than that. It’s Cheng “Endy” Chen’s penchant to always add that special something. To have that special release that others are sleeping on that compelled me to reach out to him. Continuing on this series where I give you a peek behind a few of the people that inspire me, I invited Endy over, to help us get closer to him: the source of so many interesting pan-global records.
One thing you quickly discover when telling Cheng “Endy” Chen’s story is that he isn’t just the purveyor of fine records. Endy’s everyday life hustle puts most of our own to shame. NTS radio host? Check. IRL (in-real-life) record store owner. Check, see: dv. Co-founder of a successful barber shop? Check. Record label founder. Double check. Wine trader. Check.
From Endy’s homebase in Jinhua, China his business degree is put to full use, running all sorts of ventures that put customers and consumers (of all stripes) in touch with exactly the things that are in line with their passions. Navigating all sorts of waters – making sure he has his ear to music that merits us hitting [Add To Cart] – Endy provides a steady rock to rely on, in a world increasingly afraid to give the benefit of the doubt to Chinese sellers.
From China, Endy is quietly, steadily, building an artist-focused label (1asia) giving global audiences a window into meaningful, contemporary Chinese-made music that defies easy categorization, one that’s spirited and inviting, that can easily worm its way into the ears of open-minded listeners. Endy himself speaks of feeling inspired by Japanese artists, by homegrown hip-hop, by a new Asian sound that practically merits an audience, anywhere.
As I listen to his guest mix, I keep lingering on a few English lyrics poking out: “never give up on your dreams”. The more you get to speak to Endy. The more you get to be moved by the music he’s promoting. The more you want to do, the more you can do, to keep his dreams alive. Well, here’s my bit to get you to know a little bit more of Mr. Cheng “Endy” Chen…
Cheng “Endy” Chen (GROOVE BUNNY RECORDS) INTERVIEW
F/S: Endy, could you please introduce yourself and share a bit about your background? Where do you call home?
Endy: I currently run a record shop and also work as a DJ, among other music-related activities. My hometown is Jinhua City, China. However, what I consider home changes from time to time; it’s more about moments where I feel at peace.
F/S: What kind of music did you listen to while growing up, and how did it shape your connection with music?
Endy: During my younger years, I mainly listened to pop music, mostly from Taiwan and Hong Kong, which was imported and released in China. I started visiting record shops in my small city of Jinhua since primary school, buying music from cassettes and later CDs (vinyl records weren’t available at that time). Sometimes I would find cool titles that made me feel good, and sometimes it was just the joy of listening to pop music itself.
My involvement with music was mostly about collecting and listening. However, in China, we have something called “午睡” (noon nap), which is a short rest after lunch, especially in some companies and schools. After the nap, my high school class would play 10 minutes of music via a boombox, and I was the one who handled that.
I remember one time I went to the central city (about a 50-minute bus ride each way) to get the brand new cassette from a record store during the lunch break, and then I brought it back to school to play for my classmates. It was an exciting experience, and that cassette was Jay Chou’s 2nd album, 范特西 (Fantasy).
F/S: How did your passion for music evolve into DJing, performing, or collecting records?
Endy: Japanese music played a significant role in my musical journey. I started listening to hip-hop after the R&B phase during my high school and college years. From there, I got into jazz, funk, soul, and other “groovy” music genres, largely influenced by sampling culture. I began collecting vinyl records around that time. However, what truly excited me was Japanese music, not just because it was well-made and a fusion of various styles, but also because it introduced me to music from the ‘70s, ‘80s, and ‘90s, which still feels fresh today.
Discovering these lesser-known titles in the world of Japanese music was a turning point for me. It was all about the thrill of exploration. These titles weren’t necessarily famous or popular, but there were so many of them, so I had the opportunity to listen to amazing new music almost every day. This excitement gradually led me deeper into the world of music.
F/S: Where did you typically find or purchase the music you were interested in at that time?
Endy: It was quite similar to other places. There were record stores, but perhaps not as many choices as you’d find elsewhere, and the selection was more limited. We also had music magazines that introduced music from around the world, but again, the options were limited. The internet was bustling with activity, though, and many people shared and discussed music online. Some online groups were very dedicated and focused on specific music genres. Later on, warehouse digging became a thing. These places were often dusty and hot but filled with excitement.
F/S: Are there any records or tracks from that time that you still deeply connect with today?
Endy: Yes, there are a couple of tracks that have remained close to my heart:
– Toshinobu Kubota: He is one of the artists I started listening to during my R&B phase, and I still play his tracks occasionally when I DJ. Recently, I discovered an extended version of my all-time favorite track, “Dance If You Want It.” It has a stronger bassline and was released on a promo-only 7-inch record, which perfectly fits my DJing style.
– Antonio Carlos Jobim: Jobim’s music, particularly his bossa nova style, influenced my musical taste significantly. Wave is my favorite album of his because it has a less organic and somewhat minimalistic feel. I still listen to it occasionally, and in fact, my Jinhua store is named “wave” out of my love for this album.
F/S: You seem to have lived through the transition from peer-to-peer file-sharing programs like KaZaa and Napster (or home-grown software) to the era of streaming music services like Spotify. How did this technological evolution change the way you discovered and listened to music, and did it play a role in the birth of Groove Bunny?
Endy: Yes, indeed, I witnessed the shift from file-sharing programs to streaming services. Initially, I discovered music primarily through physical record stores. However, in the following years, I started exploring more online platforms for P2P downloads and streaming apps. But now, I find myself returning to physical records because I believe I don’t necessarily need to listen to “popular” or “well-promoted” music every day. As a record store owner, label owner, and DJ, I find greater meaning in discovering and promoting lesser-known or new music. It’s also more enjoyable for me. Often, these hidden gems can be found in the corners of record stores rather than on the internet.
F/S: Can you share the story behind the birth of Groove Bunny Records, and how it evolved from record sales to your involvement as a record label?
Endy: Groove Bunny Records was my first record label specializing in Chinese Hip-Hop music, and it featured quality titles. You can still find its releases online on platforms like Bandcamp. The main producer for the label was Pete Chen, who worked on many remarkable projects. We frequently discussed samples and shared good tracks with each other. However, I was more into collecting records than he was. Eventually, I started selling second-hand copies through Discogs using the same name, Groove Bunny Records. I saw it as a way to promote the label as well. If you check our last release, “Illtacc,” you’ll notice the influence of City-Pop, although that was back in 2017.
F/S: Do you have any interesting or unfortunate stories to share from your time managing the store or DJing? I can imagine you might not enjoy receiving track ID requests.
Endy: Actually, I don’t really mind receiving track ID requests, especially if it’s in a relaxed and mellow setting. However, it can be a bit frustrating if I’m interrupted while DJing, particularly in a nightclub where the atmosphere is more serious and loud. At those times, I’d rather not even engage in conversation with friends. What truly gets on my nerves these days is the random damage to international shipments of records. It’s a situation where I feel helpless, and sometimes, I almost prefer not making any sales at all.
F/S: Many of us who had the chance to listen to your NTS Radio show felt that its enduring appeal came from its genuine uniqueness. It truly seemed like it reflected a part of your identity. It had this prominent Pan-Asian essence that wasn’t solely Japanese, Southeast Asian, Chinese, Korean, Pacific Islander, etc., but something distinct. Do you miss doing that show, or have you discovered other outlets for this aspect of yourself?
Endy: Yes, it’s a reflection of my personal emotions, not just a collection of tracks. Sometimes, when you assemble them into a set, it can be too emotionally charged, too light on the music side, and too overwhelming for the listeners. I believe I should write something about it someday. But before that, sipping on some wine seems like a good choice.
F/S: Endy, I know you’re not just the person behind the record store but also a concert promoter, DJ, and even a bit of an entrepreneur. Don’t you also run a barber shop and a zine? Has all this hustling and work become something you’ve grown into, or is there something else you’d prefer to do instead?
Endy: My college major was in business, so perhaps it’s not surprising that I find myself involved in various business ventures. The barbershop, ‘wave’ Records, was founded in partnership with my local friend Luke in Jinhua; he’s the barber, not me. Additionally, I’ve recently opened a new store in Suzhou city with another partner. It’s called dv and it focuses on books and records. I actually love all my jobs, and right now, I don’t feel the need for anything more. I just hope they continue to thrive and improve.
F/S: What do you enjoy most about having your own record store? Is there something you’ve learned now that you wish you knew when you started?
Endy: Well, one thing is for sure; you end up accumulating more and more records (although that might not be my favorite part). But having your own record store is a fantastic way to share your passion for music. For instance, in my Suzhou store ‘dv,’ I use genre tags, and one of my favorites is ‘Erik Satie.’ I can’t think of a better way to express my deep appreciation for Erik Satie’s music; it’s definitely one of my favorite aspects.
F/S: What particularly caught my attention when researching you is how you’re not easily categorized. You have a knack for sharing music from diverse genres, styles, and countries. I appreciate that I can’t box you in as just a collector or selector. Ultimately, what drives you to decide whether to share, collect, or purchase music?
Endy: It’s probably the power of music. You see, humans are incredibly diverse and complex. But for someone who is truly passionate about music, there’s something magical about it. When they engage with music, even if it’s just for a single minute, sometimes you can still feel its impact. It’s like savoring the best part (of course, you have to savor many other parts as well). So whether it’s collecting, sharing, buying music, or even selling it, it might be the purest part of me. Since the advent of the pandemic, I’ve found myself becoming more emotional. Honestly, at least we can still listen to good music during challenging times like these.
F/S: Do you have any memorable stories or anecdotes from your time as a record store owner that you’d like to share? Any advice for those interested in pursuing a similar path?
Endy: Some of the most memorable stories involve customers’ secrets that I can’t share publicly, which adds an element of intrigue to the record store. My advice would be to make your record store interesting by keeping a few secrets up your sleeve.
F/S: What’s interesting about you is that you’re not hesitant to explore Chinese music or use your homebase in Jinhua to sign artists (through your 1asia record label) from Shanghai and other places. How important is it for you to be a platform for new Chinese artists? Do you ever envision yourself reissuing music from legacy artists?
Endy: Let me put it this way: I make money by selling second-hand records. I DJ occasionally for fun, but at least I don’t lose money on it. However, 1asia involves spending money, although not a substantial amount. Releasing good music is incredibly important to me, and I believe it has brought me good fortune in some way.
From my second-hand record business, I’ve discovered many beautiful pieces of music, but it’s also been a source of regret. You see, sometimes, excellent music takes 30 years or more to be discovered for various reasons. I don’t think it should be this way. Good music should be shared widely and promptly, benefiting both musicians and the world. Even if, for some reason, that doesn’t happen, a well-structured approach can help preserve the energy of the music.
For example, in 2021, 1asia released an avant-pop album titled “月谏房” by 孟雀. In my opinion, the musician is incredibly talented, but she’s very shy about doing promotions or live performances. Handling such situations is quite challenging for me. I hope her music reaches more people. Also, I believe that releasing music is the purest and simplest part of my life. I hope I can continue doing it for a long time and receive positive feedback for the titles. That’s my only concern – sometimes, I fear I haven’t promoted them well enough, and I feel sorry for the music and musicians. I can’t lie to music.
What I’ve done in music digging is quite different from “reissuing legacy musicians.” You see, a great reissue involves a lot more hard work (imagine how Mr. Eiji Taniguchi did so for Dream Dolphin), but perhaps I’ve done a few good things for someone.
I hope to do some reissue releases someday too, but it needs to be for the right reasons – if I can speak directly to the musician rather than just dealing with some company. I can say that releasing music is the most serious pursuit for me.
F/S: How did you manage your record store during the COVID-19 pandemic, especially considering China had a stricter lockdown at one point? Have things changed for you now that restrictions have eased?
Endy: I started a wine trading business during the pandemic to mitigate the impact of strict travel limitations. Sales were lower, events and DJ gigs became less frequent, and daily COVID testing became routine. Sometimes, the lockdowns and restrictions left me feeling frustrated. However, I could always enjoy a lovely bottle of wine at a reasonable price, which was a silver lining. Interestingly, I didn’t gain much attention from wine sales, but it did help me financially. My motto now is to always have a plan B, or even a plan C, for freedom, something I hadn’t truly felt before.
F/S: Can you talk a little bit about your interest in wine (collecting it or selling it)? As one who is interested in wine, as well, I thought it was interesting that you and Eiji from Revelation Time shared a similar hobby.
Endy: I started drinking wine not too long, mostly natural lineages. Well, for some reason, I need alcohol sometimes and I find wine is more fun and drinking it puts me in a more relaxed mood. Also, less hangovers is better for the next day’s work.
F/S: It seems that the music genres you’re passionate about, such as hip-hop, house, techno, and urban music, face increasing censorship in China. Can you shed some light on this, and how has your Chinese audience reacted to your musical preferences?
Endy: It’s true that all music officially released here must go through censorship, especially for physical releases. Digital distribution is a bit more lenient. Rock music, in particular, has faced more censorship due to its sometimes critical and rebellious nature. However, when it’s difficult to express dissent, people often choose a less confrontational path. As a DJ, I’m still able to play the music I want, as long as it’s not for larger, high-profile events.
F/S: Where do you usually find new music when you have the time?
Endy: About 90% of the time, I discover new music through daily digging for physical copies, mostly online these days. Another 5% comes from friends who share their own works, and the remaining 5% is from various channels, including a few Instagram accounts. Personally, I really enjoy FOND/SOUND; I find your content enjoyable to read and listen to. A recent favorite of mine was the Kazuo Uehara piece.
F/S: Lastly, could you share the most interesting or memorable story you’ve experienced as a record store owner? Do you have any advice for those looking to follow a similar path?
Endy: Some of the most interesting stories involve secrets from customers that I can’t share publicly. This, in itself, can make the record store experience intriguing. My advice for those interested in this path is to make your record store captivating by keeping secrets and stories that only you and your loyal customers know about.
F/S: May I ask, what was the inspiration behind the mix?
Endy: It was inspired by your interview questions which made me think about my music listening experience and also about the future, for the selection part. I made it on a high speed train with my daughter (she gave me a little advice, haha), using Audacity as my first time making a mix by software (I always just record DJ sets live), without pitch and effect, etc, which was really fun.
Comparing it to wine, I can say it’s also a bit light, red, and natural, with ‘minimal intervention’, hopefully for someone who will enjoy it.
F/S: Are there any interesting projects or endeavors you’re a part of that you’d like to share with Fond/Sound readers?
Endy: 1asia just released Munir’s new LP, The Soundtrack of Sentiments, a funk album featuring some Chinese friends. And soon, in October 2023, we’re gonna release a remix project of London-based Chinese artist Caslean, in which I played the original track in the mix. It will be a colorful one.
(Editor’s note: Thanks to Endy for his time and thoughts. For those interested: you can reach him in real life here or online.)
Guest Mix By Cheng “Endy” Chen (GROOVE BUNNY RECORDS)
Tracklist:
水上 修 (Osamu Mizukami) – The Waltz For Fireworks, (Hypnotique Records)
伍思凱 (Sky Wu) – Candle Light (中場音樂, (點將唱片)
H Hunt – Journeys, (Tasty Morsels)
黃韻玲 (Kay Huang) – 最初的相遇, (友善的狗）
伍思凱 (Sky Wu) – 燭光 (散場主題曲), (點將唱片)
久保田利伸 (Toshinobu Kubota) – Interlude, (SME Records)
Munir – Emotional Alchemy Ft. Donald Dust, (1Asia)
李廸文 (Dick Lee) – A Lover’s Holiday, (For Life Records)
久保田利伸 (Toshinobu Kubota) – Bossa Groove, (Sme Records)
菩提樹 (Bodaiju) – たわむれ (波), (Denon)
伊能静 (Shizuka Inou) – Always (Opaz Mix), (Zaba)
尾島由郎 (Yoshio Ojima) – Corridor, (Newsic)
Caslean – Sweet Adventure, (Caslean Self-Released)
孟雀 (Meng Que) – 窗边, (1Asia)
St. Giga – 秋
One response
Hi, could I check what the music is at about 25.40 to 34.00 in the mix – it’s awesome.