Punk rock and post-punk Punk rock first emerged in China in the early 1990s as records from Western punk and post-punk bands were imported into mainland China for the first time. One of the earliest and most renowned punk-influenced Chinese artists was He Yong whose debut album Garbage Dump was released in 1994. Formed in Nanjing in 1997, post-punk group P.K. 14 are regarded as the most important band in the development of Chinese experimental rock music. The band moved to Beijing in 2001 and released their first album 'Upstairs, Turn Left' the same year. P.K. 14's singer-songwriter Yang Haisong (杨海崧) has also produced many of the Chinese indie music scene's most celebrated albums (including Carsick Cars' 2007 eponymous debut album), working with independent record labels such as Maybe Mars and Modern Sky. Since the early 2000s, Chinese indie music has grown considerably, with homegrown bands such as Carsick Cars, Birdstriking, Re-TROS, Brain Failure, Demerit, Tookoo, AV Okubo, Lonely Leary, Hang on the Box and Fanzui Xiangfa all embarking on international tours. Western classical music Whereas orchestras organised by, run solely by and nearly always exclusive to the expatriate community in China are recorded from the early days of the International Settlement in Shanghai (i.e. 1850s) and a Russian orchestra was in operation in Harbin from the early 20th century, the beginnings of a unique classical music tradition in China lie with the first foreign trained Chinese conductor, Zheng Zhisheng AKA (romanized) Yin Zizhong. Zheng (Yin or Wan depending on romanization) was raised in China's Guangdong province. He was influenced by the Western Church Music at an early age. He studied in Lyons and Paris before returning to China in the 1930s. He became the first Chinese conductor of the Chongqing Symphonic Orchestra. Their performances included compositions from Beethoven and Mozart. The revolutionary spirit of Yin Zizhong's (or romanized Wan-Chi Chung's) style has been continued by the first generation of composers immediately following the accession of the Chinese Communist Party to power, namely Li Delun and Cao Peng. The former provided the driving force and often the life force that kept a tradition alive through the Mao years, especially in his adopted city of Beijing, and the latter has been instrumental in maintaining a high standard of symphonic music, as well as working hard for the popularization of the tradition further into the fabric of Chinese culture, across his long