Chen Yupeng

**Overview**List of WorksActivities

## Signature

**Chen Yupeng** (Chinese: 陈宇鹏 *Chén Yǔpéng*; born January 15, 1984), also known by his stage name **Chen Zhiyi** (Chinese: 陈致逸 *Chén Zhìyì*), is a Chinese composer and music producer. He is best known for composing the soundtrack of *Genshin Impact*, an open-world action and role-playing video game by miHoYo that is one of the highest-selling mobile games in history. His work is known for its versatile style of integrating traditional instruments with Western orchestral arrangements. From 2019 to 2023, he was a music producer at HOYO-MiX, the in-house music studio of miHoYo, and led the music production of the game.

Chen was educated at Shenzhen Arts School and the Shanghai Conservatory of Music, and studied under the tutelage of experienced musicians who influenced his work later in his career. While he studied in college, he was already involved in composing and producing film and television music. Even before his career, his musical works won awards at various events. Chen established the Yupeng Music Studio in 2014, which had cooperative relations with many recording studios and music groups in Beijing and Shanghai, and produced works for companies including Click Music Ltd., Tencent, and NetEase.

In the early 2010s, Chen collaborated with the accoladed composer Chan Kwong-wing to produce scores for veteran film directors. Their score for Wong Jing's *The Last Tycoon* (2012) earned them a nomination for the "Best Original Film Score" at the 32nd Hong Kong Film Awards. The duo would not win an award until their work for *The Founding of an Army* (2017) earned the Golden Deer Award for the "Best Original Music Score" at the 14th Changchun Film Festival. They also produced the score for Andrew Lau's *The Captain* (2019), one of the all-time highest-grossing films in China. Chen had scored several films by Raymond Yip, most being horror or thrillers.

## Early life and education

> There is no doubt [that] my anticipation for the future actually manifested when I was a child. I remember that time, during solfeggio classes in art school, the teacher asked everyone what they wanted to become. At that time, I volunteered and stood up, saying that I wanted to become a top composer in China. I remember it was when I was in my teens in art school when I already had such an ambition. This should be my pursuit for the future; I must strive to be the best. I want to become the most famous composer in China.
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> 毫无疑问，我对未来的憧憬，其实在我小时候就体现出来。我记得那个时候，上视唱练耳课还是在艺校的时候，老师就问大家想做什么。那个时候，我就自告奋勇站起来，我要做中国第一流的作曲家。我记得那是我在艺校，十几岁的时候，我就已经有这样的一个抱负了。这应该是我对未来的一个追求，我一定要做到最好。我要做中国最有名的作曲家。
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> — 不急TV interview, *Chen Zhiyi: Music That Truly Has a Soul, Will Be Ingrained Deep Into Your Bones*
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Chen was born on January 15, 1984, in Changsha, Hunan Province. His mother was a vocalist; to raise Chen, she stopped her career. His father majored in mathematics. The first musical inspiration came to Chen at age six, when he watched the Japanese animated film *Nausicaä of the Valley of the Wind* (1984) by Hayao Miyazaki. Though he did not understand the story, he was deeply moved by the soundtrack and "felt the power of music" for the first time. During his childhood, he also discovered his musical talent as he was sensitive to pitch.

In 1996, at the age of twelve, Chen enrolled at Shenzhen Arts School (深圳艺术学校) and studied under clarinet educators Jiang Baocheng (姜宝成) and Tao Ran (陶然). Tao Ran, a Clarinet associate professor at the school, has performed solo clarinet and chamber music concerts. He received several awards for his excellent instruction and musicianship. Tao, like Chen, also studied under Jiang Baocheng. When Chen was 16, he learned basic theories of composition under Ju Zongze (居宗泽), a teacher and assistant lecturer at Shenzhen Arts School. He taught music theory, solfeggio, etc.

In 2002, Chen permanently moved to Shanghai and was admitted to the Shanghai Conservatory of Music with the Fu Chengxian Memorial Scholarship (傅成贤纪念奖学金). He first a Clarinet major, but Ju Zongze, who discovered Chen's strong interest in composition, suggested that he transfer to a Composition major. Chen later majored in Music Design and Production in the Department of Music Engineering, which was established in 2003. Around the same time, the Shanghai Conservatory of Music invited Japanese musician Tanimura Shinji to join the department as a resident professor. When Chen attended Tanimura's master class in 2005, he noted that Tanimura's work combined Japanese folk music, oriental pentatonic melodies, and Western orchestral music. The learning experience gave much inspiration, especially Tanimura's concepts of "music has no borders" and "spread the positive energy of love." Shortly after that, Chen was one of the eight students from the department to join Tanimura for a concert performance at Expo 2005. He was responsible for the arrangement and production of the musical works, and performed as a pianist. It was also during that year, in November, when he won an award during a song activity organized by Tanimura and the Shanghai Federation of Literary and Art Circles (上海市文联组织) for the opening of the Yangshan Port and Donghai Bridge.

Other than Tanimura, Chen also studied under the tutelage of An Dong (安栋), Chen Qiangbin (陈强斌), Wu Yuebei (吴粤北), Hu Taoyuan (胡桃源), Xu Jianqiang (徐坚强), and Qin Shile (秦诗乐). The different styles, composition philosophies, and approaches to music taught by the first three teachers greatly influenced Chen's work later in his career. While he studied, he also assisted An Dong in producing film and television music.

In September 2006, Chen's work "GAMES OF FANTASIA" won the first prize at the annual concert of the Department of Music Engineering. He also received three awards for the best creativity, teamwork, and popularity. During the same year, he worked with An Dong on the films *The Tokyo Trial* and *Fiery Autumn Wind* (西风烈). In June 2007, the department held the Undergraduate Outstanding Graduation Works Concert and Exhibition (本科优秀毕业作品音乐会暨展示会). Chen's "Challenging Hollywood" was selected as the department's outstanding work and won the first prize, and then was performed. Later that year, Chen graduated from the Shanghai Conservatory of Music with honors and joined An Dong's studio.

## Film and television scoring career

### *Armor Hero* series

In 2009, Chen composed the soundtrack for the first season of *Armor Warriors*, directed by Guowei Zheng (郑国伟). The story tells of five gifted people who don magical battle armor handed down in China since ancient times, and together they become warriors representing the power of light. They fight against forces of darkness to save their world. In 2010, the series was followed by the film *Armor Hero Emperor*, which Guowei Zheng also directed and Chen scored.

In 2016, Chen composed the theme song "God's Rival" (神的对手) for the film *Armor Hero Captor King*, with the lyrics provided by Zhou Bingyi (周秉毅) and Jing Qian (镜千). Two years later, since Chen was the composer of the original *Armor Warriors*, he was invited to be the music director for *Armor Hero Chronicles*, a film commemorating ten years since the series began. In addition to producing the soundtrack, he composed and sang the ending theme song, "Kaixuan" (铠旋).

### Collaborations with Chan Kwong-wing

At an unknown time, Chen joined Click Music, the studio of Hong Kongese film composer Chan Kwong-wing (陈光荣). Chen accumulated much practical experience at the studio and learned various musical languages and styles since creating film soundtracks had him dabble in genres such as hip-hop, jazz, electronic music, etc. He and Chan worked together to produce the score for *The Last Tycoon*, a 2012 period drama film directed by Hong Kong cinema veteran Wong Jing (王晶). The film is set in early 1900s Shanghai and follows the story of a tycoon named Cheng Daqi and his associates who get caught in the events of the Second Sino-Japanese War. Chen and Chan Kwong-wing's work on the soundtrack got nominated for the "Best Original Film Score" at the 32nd Hong Kong Film Awards.

Their next collaboration was for Wong Jing's *From Vegas to Macau* (2014), a crime-comedy film. Chen and Chan also worked on the scores for its sequels *From Vegas to Macau II* (2015) and *From Vegas to Macau III* (2016). The three films are part of the *God of Gamblers* franchise. After *From Vegas to Macau III*, Chen and Chan worked on the score of *The Founding of an Army* (2017), a historical drama film directed by Andrew Lau (劉偉強) commemorating the 90th anniversary of the founding of the People's Liberation Army. Their work earned them the Golden Deer Award for the "Best Original Music Score" at the 14th Changchun Film Festival. They next worked on Andrew Lau's *The Captain* in 2019, a film based on the events surrounding Sichuan Airlines Flight 8633. It was one of the films that competed in the Golden Deer Awards at the 15th Changchun Film Festival in 2020.

### Raymond Yip films

> Teacher Chen Zhiyi has composed music for several suspense films such as *The House That Never Dies* and *Phantom of the Theatre*. In his music, you can hear a deep understanding of the films themselves, which are tightly intertwined with the storyline while striking a chord with the audience. It can be said that he has a remarkably distinctive personal style in the field of music composition.
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> 陈致逸老师曾为《京城81号》、《魔宫魅影》等多部悬疑电影配乐，在他的音乐中会听到很多对影视作品本身的理解，在与剧情高度结合的同时又能够紧扣观众心弦，可以说在配乐制作方面有着非常显著的个人风格。
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> — *NetEase Entertainment*, 2018
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The first film score Chen independently produced was for *Bump in the Road*, a 2013 comedy film directed by Raymond Yip (葉偉民). The film's story tells of a man named Zhang Kai who suddenly receives an ultrasound image of his child; he embarks on a road trip with his younger brother Xin to search for the child's mother. Chen provided his vocals for the songs "Snatch the Bouquet" (抢花球), "On the Road" (在路上), and "Far Place" (远方).

In 2014, Chen returned to score Raymond Yip's *The House That Never Dies*, a thriller film based on the haunted house Chaonei No. 81. Director Yip gave great importance to the music and did not give restrictions on producing the soundtrack. It was a challenge for Chen as he had no reference for the music, so he created the style, structure, tempo, and orchestration himself. Yip approved the overall design of the music. The film was a box-office hit and became the highest-grossing Chinese horror film. The 2017 sequel, *The House That Never Dies II*, was directed by Qian Renhao (钱人豪). Chen composed its ending theme song, "Soul Returns" (回魂).

In January 2015, the suspense thriller film *Tales of Mystery*, directed by Raymond Yip, Tian Meng (田蒙), and Xian Xuchu (咸旭初), was released. Its music production was the first test of Chen's creative techniques in the genre of horror music and influenced his work on *The House That Never Dies*. The film is divided into three acts, each having a unique musical style. The first story is "Japanese-style creepy," the second is "American-style brutal," and the third is "heartwarming with emotions."

The next film directed by Raymond Yip was *Phantom of the Theatre* in 2016, a thriller like his two previous works. The story tells of a haunted theater filled with the spirits of a performance troupe that perished in a fire many years prior. What Chen found to be most time-consuming in producing the music was not the rigorous score and complex engineering but making the score rich while not complicated, concise and not monotonous. Aside from horror music, Chen took on four themes for the soundtrack: fate, love, and the ordinary and magical sides of the Palace Theater. These themes blend and change with each other. Chen composed "The Mist," the film's theme song that takes on love. His score for the film had received both praise and criticism. Jonathan Broxton of Movie Music UK, in his film score review, wrote, "*Phantom of the Theatre* has, quite rightly, been the recipient of quite a bit of critical praise in 2016, and despite its flaws I certainly recommend it for anyone wanting to dip their toes into Chinese film music."

### *Butterfly Cemetery*

In April 2016, Chen was invited to produce the score for *Butterfly Cemetery*. A film based on a novel of the same name by Cai Jun (蔡骏) and directed by Ma Weihao (马伟豪), it tells of a woman named Shang Xiaodi who meets a half-butterfly man during a trip to Budapest. Compared to his previous film works, Chen chose a more modern style for the music, and the techniques he employed were influenced by German composer Hans Zimmer's minimalist style. Since the story is set in Hungary, Chen incorporated Hungarian elements into the music. The music production went on for five months, and the film was released in October 2017.

### *Magic Town*

In 2015, Motion Magic (幻维数码) invited Chen to compose songs for *Magic Town*, an educational program for children. Most of the creative team were first-time parents or had young children, including Chen, whose partner was expecting their daughter. As Chen was about to become a father, he was motivated and proud to take on the project. *Magic Town* had nearly a hundred songs that took almost two years to produce, and many were improvised by Chen when he first worked on them. Chen considered the diversity of musical styles and incorporated elements from various genres such as folk, jazz, rock, electronic dance, new age, etc. He also took into account the fact that children are "exposed to advanced knowledge and culture." Therefore, he used trendy elements for nursery rhymes. The overall experience of working on the project was much different compared to Chen's past film and television works in terms of emotions. In film music, various emotions are present, including negative ones such as anger, fear, anxiety, and depression; Chen felt these as he composed. *Magic Town* was different because of its overall positive, bright themes. The show premiered in December 2016. At the same time, the music was released across four albums.

## Video game music

### *Moonlight Blade*

In 2015, Chen began to work as one of the music producers for *Moonlight Blade* (天涯明月刀), a martial arts-themed MMORPG by Tencent Games. He was under the guidance of music director Yang Jie (杨结), who was strict about innovation in music. Chen went beyond limits in producing his work for them to reach their best quality. He incorporated new instruments into his works, such as traditional Chinese instruments, which, according to Chen, made the style of the game music "refreshing." He was also interested in integrating elements of Chinese folk music into the soundtrack to create a "new national style" of folk music to promote Chinese culture. While working on the game, he also built his own fan base. He began to care more about players' preferences as regular communication with them brought changes to his ideas; he made his music more inclusive and integrated more elements into it. Through all this, Chen established his confidence in music as he formed his style and direction.

Many filmmakers were involved in the game's story creation, martial arts action, art style, costume design, etc. In the process, the game incorporated cinematic creation techniques. Following this, Chen requested to produce the landing music at the level of film music. He composed the soundtrack "Thousand People, Thousand Faces" (千人千面), which plays at the beginning of the game as the player selects and modifies their character. Chen noted that the landing music shapes the first impression of the whole game. Therefore, the music was based not solely on the theme of martial arts but on the curiosity and enthusiasm felt by players when exploring the game world. Also noted was that treating the music with high requirements and quality was unavoidable. The arpeggio elements in the music from *Final Fantasy* inspired Chen's work on the track. In February 2017, Chen released an album containing his works for *Moonlight Blade* from 2015 to 2017, including "Thousand People, Thousand Faces" in the tracklist. Chen later adapted the song into "Wind of the World" (八荒之风), a theme song for The World of Swinging Swords (剑荡八荒) competition in November 2017.

In 2018, Chen composed the theme song "Dreams of Farewell" (梦留别) for Yihua (移花), one of the martial arts sects players can choose to join upon creating their character. The theme of the song was based on a soundtrack previously created for *Moonlight Blade*, "Treading the Waves in the Sea" (沧海踏浪) by Liang Bangyan (梁邦彦). It was a challenge since the theme may not be suitable for singing, and for Chen to adapt the work of a senior composer he admired. Previously, Chen arranged theme songs by himself. This time, to bring new ideas to players, he invited a composer from Beijing, Cui Zhi'en (崔知恩), to participate in the song production. Another person was supposed to work on the sound mixing, but since each revision brought new inspiration, Chen mixed the song himself. The song was written by Wubi (无比) and sung by Zhou Shen (周深).

In 2019, Chen produced the Taibai (太白) sect theme, "Saying Sword." Wang Yibo (王一博) provided his vocals for the song. The folk music and strings were performed by Qingqin Qingqing and the International Master Philharmonic Orchestra (国际首席爱乐乐团), respectively. "Saying Sword" was Chen's final work for *Moonlight Blade* before producing the soundtrack for *Genshin Impact*.

### *Genshin Impact*

> Actually, Chen Zhiyi had been trying to do this a long time ago. The current combination and integration of traditional Chinese music and symphony, what the audience and players are more concerned about is whether traditional Chinese music and symphony can blend together, rather than just being put together like adding eggs and rice in a stir-fry. I believe that what matters is whether the music is beautiful and whether it embodies the spirit of China. As for the original soundtrack for this time, I think it is of high quality.
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> 其实陈致逸很早以前就在尝试做这个东西。现在的民乐跟交响乐的联合和结合，观众大家玩家们更关心的是，民乐和交响乐能不能融合，而不是放在一起，只是一加一炒蛋炒饭一样。我觉得其实这个还是音乐是不是漂亮、这个音乐里面有没有中国的精神。我们这次的原声音乐来说我觉得是高水准的。
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> — An Dong, *"Songs of Travelers" — Behind the Scenes of the Music of Liyue*
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In 2019, video game developer company miHoYo got Chen to produce the soundtrack for their title *Genshin Impact* with their in-house music studio HOYO-MiX. It was Chen's first major video game work, and he described the project as a difficult challenge. The game has an open-world environment that features areas referred to as regions, with visual designs inspired by different world cultures. In composing the music for these regions, Chen chose a style that integrates elements of traditional folk music with Western musical arrangements. During the pre-release development stage, the game only featured Mondstadt and Liyue, two of the planned seven regions. On top of idyllic rural scenery, medieval European architectural styles and cultures inspired the design of Mondstadt. In composing the music for Mondstadt, Chen borrowed the language and rhythm of Impressionism and used the piano, tin whistle instruments, and medieval-style lutes. The Mondstadt soundtrack was performed by the London Philharmonic Orchestra. Chen was present during the scoring sessions in London and conducted some scores himself, including the "Genshin Impact Main Theme."

For Liyue, which had scenic Eastern fantasy as its basis, he used elements of Chinese folk music—traditional instruments, the pentatonic scale, and ancient tonal melodies—with Western romantic harmonies and orchestral arrangements. The Liyue soundtrack was performed by the Shanghai Symphony Orchestra. An Dong (安栋), one of Chen's mentors from the Shanghai Conservatory of Music, served as a music supervisor during the scoring sessions of the soundtrack. Chen especially enjoyed composing combat music, using various composition techniques such as polyphony and taking orchestration elements from composers such as Ludwig van Beethoven.

> Even from the perspective of industry development, the music of Chinese games produced by Chinese composers still has a relatively long way to go. Although it is a pity that *Genshin Impact* was not nominated for the "best original soundtrack" of TGA 2020, I feel very proud that foreign players can learn more about the Chinese folk music created by Chinese composers through games. [We] will continue to work hard and live up to the expectations of our players who have invested a lot of time in *Genshin Impact*!
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> 中国游戏的原创音乐即便从行业发展来看，可能也需要漫长一段时间的探索，虽说有些遗憾原神未能入选TGA2020的最佳原声音乐的提名，但是能通过游戏传播让国外玩家感受到中国作曲家创作的国风音乐我觉得已经很令人骄傲了。继续努力前行吧，不能辜负那些在原神游戏投入大量时间的玩家们的期待！
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In a Sina Weibo post published in November 2020, Chen expressed disappointment that *Genshin Impact* did not get nominated for "Best Original Soundtrack" at The Game Awards 2020. Nevertheless, he expressed his pride as a Chinese composer. Chen later got awarded "Outstanding Artist — Newcomer/Breakthrough" at the Annual Game Music Awards 2020 held by the music journalism website Video Game Music Online (VGMO). He also spoke to Don Kotowski of VGMO in an interview about future music-related offline activities, including concerts. The first concert for *Genshin Impact*, titled *Melodies of an Endless Journey*, was held in October 2021 through an online event to celebrate the game's first anniversary. Among the involved performers was Belgian composer and conductor Dirk Brossé, who conducted Chen's nominated work "The Curse of Blood" at the 2019 World Soundtrack Awards.

> Thanks to my friendship with the Chinese composer Yu-Peng Chen, I was able to bring this prestigious project to Belgium. Symfonieorkest Vlaanderen and MotorMusic were the ideal partners to translate this dream project to a successful reality. A wonderful result to share with 40 million fans.
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> — Dirk Brossé on *Melodies of an Endless Journey*, 2021
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In 2022, a selected number of *Genshin Impact* soundtracks, including Chen's compositions "Liyue," "Rapid as Wildfires," and "Contemplation in Snow," got included in the 2022 Winter Olympics music library to be used in sports exhibitions. "Contemplation in Snow" was featured in a promotional video for the Beijing National Speed Skating Oval, a competition area constructed specially for the event.

#### Departure

> I'm very sorry for any disturbance caused to everyone! Based on the plans for my personal creative journey, after careful consideration and several discussions with the company, I have chosen to leave miHoYo and the HOYO-MiX team to pursue my own music dreams! Seeing my fellow composers at HOYO-MiX continually grow, witnessing *Genshin Impact*'s music progressing step by step (Fontaine music is really good👍), and reflecting on the support and help I received from the company and colleagues during the music production process... these are truly the most beautiful and unforgettable memories! I sincerely request your understanding and respect for my decision this time. In the future, I will continue to explore the path of music. I plan to release a new album of purely instrumental music next year, and the specific plans will be announced in the future. I hope you will continue to support my creations. From now on, I will continue to travel through Teyvat with everyone as a Traveler!
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> 非常抱歉打扰到大家！根据我个人一些创作计划的安排，经过一段时间的慎重考虑，以及和公司的几次交流，我选择离开米哈游和HOYO-MiX团队去继续追寻自己的音乐梦想了！看到HOYO-MiX团队作曲同学们不断成长，看到原神音乐一步步向前（枫丹音乐真不错👍），回想起音乐制作过程中公司和各位同事给我的支持和帮助…真是最美好又难忘的回忆！恳请大家能谅解、尊重我的此次选择，在未来我还会继续在音乐道路上不断探索，明年打算发行一张个人纯音乐作品新专辑，具体计划安排会在未来公布，希望大家继续支持我的创作。以后就以旅行者的身份和大家一起继续游玩提瓦特啦！
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## Personal projects

### 2017: *Midnight Radio* and *Time Tunnel*

> I used to own a bar, on Shanghai's Huangjin-cheng Road, which is a very quiet lane. One day I was walking on this lane alone at midnight, and an idea of rhythm suddenly came. I told it to my partner Tian Chenming , and it really hit off with the lyrics he came out. This song has a bit of dark humor, which is especially suitable for fast-paced, vaguely melodic rap, and it was my favorite genre at the time. So in one go, this song was born.
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> 我曾经开过酒吧，在上海黄金城道，那是一条非常安静的小路。有天午夜我一个人走在这条路上，乐思就突然袭来，我讲给了我的搭档词人田辰明听，与他有感而发的歌词一拍即合。这首歌有一点黑色幽默，特别适合喜欢速度快的说唱，这种隐约有旋律的RAP，而且这是当时我特别喜欢的风格。于是各方面一蹴而就，这首歌诞生了。
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> — Description of *Midnight Radio*
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On April 14, 2017, Chen released the singles "Midnight Radio" (午夜电台) and "Time Tunnel" (时光隧道). He composed both songs while Tian Chenming (田辰明) wrote the lyrics. They previously collaborated on various projects including *Armor Hero Emperor* (2010), *Painted Skin: The Resurrection* (2012), and *Bump in the Road* (2013).

"Midnight Radio" started with a rhythm that came to Chen's mind as he walked down an empty road at night. He shared this with Tian, who came up with lyrics. Tian later explained in a comment that the convenience store mentioned at the beginning of the song is a Lawson store located at the intersection of Fuxing Road and Maoming Road. What also inspired the lyrics are the times he squatted on the side of the road to smoke cigarettes in the middle of the night; the clerk at the store would play the midnight radio. Chen wrote "Time Tunnel" eight years before its release when he had planned to release ten songs in "honor of his passing youth." He then intended to dedicate these songs to those who supported him, and his friend Tian had also encouraged him multiple times to release his own song album. Tian commented on the song:

> The lyrics were written in 2009, and now it's already 2017. It wasn't until recently that Zhiyi finished recording and released them. Unconsciously, there have been significant changes in choice of words, habits, and style, as well as different themes for different age groups. Every time I seriously contemplate this, it feels like stepping into a time tunnel. Many people, many things. Like the secret code in the song.
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> 09年写的歌词，转眼2017了，致逸才录完发了上来。不知不觉中，用词习惯和风格都有了很大改变，不同年龄段的母题也不一样。每每这样一认真思考，就像走进了时光隧道。许多人，许多事。像歌里的密码。
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### 2018: *You're Not Here* and *A Cup of Moon*

In 2018, Chen collaborated with lyricist Jing Qian (镜千) to produce the song "You're Not Here" (你，不在这里). The song was based on a poem that Jing wrote at the time his grandfather had passed away, two years prior to the song's creation. When Chen read the poem for the first time, his grandfather had also recently passed away. He decided to finish the song in one go as his grandmother was also seriously ill. And before releasing the song, Chen had many of his relatives and his grandmother listen to it before she died. The song was released on February 1, 2018. Chen said:

> I personally think that this is a completely non-commercial song about family affection, expressing my deepest thoughts. I hope that others can understand my feelings, but I don't want it to be overly snooped on by people. I hesitated for a long time between publishing it or not. In the end, I chose to let more people hear it and call for more memories of my loved ones.
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> 我私心里认为这是一首完全不商业的关于亲情的歌，表达了我内心里最深处的思念。我希望别人可以体会我这种心情，但又不想它被人过分地窥探，在发布与否之间犹豫了很久，最后还是选择让更多地人听到，呼唤更多关于亲人的回忆。
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Chen and Jing next worked on "A Cup of Moon" (一杯月), together with music engineers He Jiade (何迦德) and Kaola (考拉), and mixing engineer Liu Junjie (刘俊杰<). It was a song originally made for the Qingqin Qingqing (轻琴謦磬) band, hence its length of six minutes. Yin Lin (银临), a singer Chen invited to participate in the project, persistently suggested shortening the song, but Chen continued with his vision. He also completed the arrangement in one sitting during an eight-hour-long live broadcast. The recording and mixing took half a year, and the song was released on October 6, 2018.

### 2019: *Being Towards Death*

After two years of production, Chen digitally released his first original album, *Being Towards Death* (向死而生), on April 2, 2019. It includes various works created over ten years and features new recordings of previously released works, such as "Midnight Radio," "Time Tunnel," and "A Cup of Moon." The production of the album was supported through crowdfunding. With an initial goal of 30,000 RMB, the project raised 38,000. According to lyricist and project planner Qian Jing, the difficulty of the production lied in the communication as each song involved illustrators, video creators, and other artists. All songs he worked on got revised at least twice before arriving at the finished product; "A Cup of Moon" got revised at least three times. He also described Chen's attitude towards music as "rigorous." Column editor Xiaoxiao (小小), explaining a bit of the production, said:

> Recently, Teacher Chen has really gone all out for his beloved album. He works until one or two in the morning every day, just to optimize and refine every single piece during this last bit of time. He has even re-recorded several songs all over again. So, even for songs that have already been released on NetEase Cloud [Music], there are significant differences in the new album. The editor even starts to wonder if Teacher Chen is a Virgo, given his meticulousness and attention to detail.
>
> 最近陈老师为了自己的宝贝专辑真是豁出去了，每天都干到凌晨一两点才回家，只为了在这最后的一点时间里把所有曲子都优化优化再优化，甚至有好几首歌直接又重新再录了一遍。所以哪怕是已经在网易云上发表过的歌曲，新专辑中也有很大的不同，小编都开始怀疑陈老师是不是处女座了。
>
>

## External links

### Music

* Yu-Peng Chen on Apple Music
* 陈致逸 on Bandcamp
* 陈致逸 on KuGou 5SING
* 陈致逸 on NetEase Cloud Music
* 陈致逸 on QQ Music
* 陳致逸 on Spotify
* 陈致逸 on Spotify
* 陈致逸 on Spotify
* Yu-Peng Chen on Spotify

### Personal

* 陈致逸HOYO-MiX on Bilibili
* Yupeng Chen on Facebook
* 陈致逸 on Sina Blog
* 陈致逸 on Sina Weibo
* 陈致逸工作室 on Sina Weibo
* chenzhiyimusic on Weixin
* cypstudio on Youku
* 陈致逸音乐 on Youku
* 陈致逸 on Zhihu
* 陈致逸 on Zhihu

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