But to continue with the puff (which is a recent one: a few years back, the same Sister Drum series would have elicited more like “New Age fantasy”):
纯净空灵的天籁动人之声《阿姐鼓》 : “(her song) “Sister Drum” projects a soul-moving angelic, pure-from-afar feel… a voice with purity and quietude of sound — softly nostalgic like the tone of Bai Ruoqi’s “Dreamer”(!!!) … “bare, exposed, breathy, falsetto-like, and pure of pitch ( w.o vibrato.). … (which, reading between the lines) implies the Travel Channel (2001-) style of traveler fantasy, flight across borders… (“Dreamer”: Bai Ruoqi’s Dream-chasing MTV also of Travel Channel provenance is on the same track, or is so acknowledged: if so the matter of angelhood is moved over to innocence of appearance, vulnerability, no longer or voice). (NB, one of the noms de guerre of Ms Bai is “Lady Tuva”, probably of her own devising but certainly intended to suggest a link to “echo-sound” central, and the true center of throat-singing, the Altai).
One appendage of this new “celestial” singing that persists, and in fact lays the groundwork for a first cluster of true folk-hybrid sound, is the sudden leap to prominence of Tibetan balladsong “quaver”-sound female singing.
The lassoo twines perhaps gruesomely within the title of Dadawa’ 1995 top-of-the-charts “Sister Drum”. An appellation not explained. and with good reason, since the drum in question used to be made from the flayed skin of a sacrificial virgin – some thing of course that is “no longer practiced”: the trope turns the lyrics into a kind of song of mourning for a departed “sister”, as if the singer’s own.
Supposed Tibetan Maiden Sacrifice, Skin into Drum (film Honghegu, 1996)