Live Is ... Karen Mok (拉活 ... 莫文蔚), is about showing that Karen Mok is very much more than your run-of-the-mill recording industry product. Whether you like her music or not, the fact that she is a talented performer is generally recognized, and with Live Is ... Karen Mok, she has composer, lyricist and producer credits for the album as well. Her efforts were recognized when she picked up the gong for Best Mandarin Album at the 19th Golden Melody Awards last month.
The album, which is held together by Mok’s distinctive voice, in all other respects roams the whole spectrum of Asian pop music. It touches base with funky disco in her opening song Day Shift and Night Shift (日場夜場), clubland electronica with Live Is and Please Turn Off Your Cell Phone (請把手機關掉), straight-up Mando-pop ballads with Super Fans (頭號粉絲) and lounge with Stage (台).
Italian opera, traditional Chinese suona (嗩吶) music and English, Mandarin and Cantonese words are sampled and mixed together. It’s an amazing hodgepodge of diverse styles, and the remarkable thing is that Mok is able to hold it all together, even when some of the elements come over as annoyingly pretentious. This is all bravura though as none of the tracks truly have a life of their own, so despite the enormous amount of talent that has gone into the album’s creation, both from Mok and her team of outstanding musicians, there seems to be something a little soulless about the venture. The glamorous music videos too are short of personality, and some could easily be from advertisements for high-end fashion accessories. — IAN BARTHOLOMEW |
Sodagreen’s third album, Incomparable Beauty (無與倫比的美麗) shows great self-assurance both in the arrangement of the music and the way that lead singer Wu Qing-feng (吳青峰) uses his unique voice, the band’s most appealing instrument. There are elements of bubblegum pop and folk rock, and even some classical music orchestration grafted onto a core of Mando-pop lyricism. The band’s lyrics and attitude are sophisticated enough to carry even the schmaltzier aspects of this relatively big-ticket production without losing all of its indie street cred.
The title song has deceptively simple lyrics, but Wu injects them with his own special brand of bitter-sweet sentiment that produces something akin to poetry. On first listen, it was tempting to write off the orchestral arrangements as nothing more than the band being tempted by the bigger production values that this two-time Golden Melody Award-winning group now has access to. But with only a couple of exceptions, Sodagreen manages to be playful, and even makes a harpsichord solo fit seamlessly into its bubblegum rock first track, aptly titled Having Fun (遊樂).
Having Fun is a nice boppy opening to the album, which then ranges through romantic introspection, with the occasional hectic interlude. The staccato beat of The Daytime Moon (白日出沒的月球) picks up the pace, but never becomes frantic or out of control.
Despite one or two weak tracks, which fall into the ponderous strains of the conventional Mando-pop ballad, the album works well as a whole, presenting a coherent picture both in terms of sound and lyrics. Sodagreen likes to show its sentimental side, yet never forgoes charm, and often flirts with cute, but is thoughtful enough to avoid insulting the listener’s intelligence. Though it may not be an album of incomparable beauty, this work is too well crafted and independent spirited to be dismissed as just another product of the Mando-pop music machine.— IAN BARTHOLOMEW |
Da Mouth (大嘴巴) has made a splash in Taiwan’s pop scene with a hip-hop and R ’n’ B album that earned the outfit the Best Singing Group accolade at this year’s Golden Melody Awards. The group’s self-titled debut album is full of catchy Mando-pop tunes that emphasize danceable grooves, but leaves one wishing there was a little more.
Tastefully chosen beats and sampled instrumental loops make Da Mouth enjoyable listening if you’re in the mood for something fun. Come This Way (靠過來) sports a tight, funky beat and sampled horn riffs, and the group’s Mandarin rapping fits the rhythms well. The infectious groove and melody of In Conclusion (結果咧) makes for another standout track.
Japanese female vocalist Aisa (愛紗) pulls off an impressive performance, singing and rapping in Mandarin. The starlet-turned-singer displays some dynamic vocal qualities, ranging from sultry lows to chirpy highs, while her accented Chinese brings a quirky character to the group’s slick sound.
But despite the polished production, the album seems thin in terms of substance. In tracks such as 119, the unremarkable lyrics don’t match up to the song’s highly stylized musical arrangement. And while each song is distinctive, the album doesn’t flow smoothly as a whole; it feels like there are songs missing. Two ballads incongruously slapped on at the end make you forget the catchy grooves that started the album.
Given Da Mouth’s musical talent and camera-friendly demeanor, the group’s label, Universal Music Taiwan, likely sees “star” potential. But let’s hope that Universal remembers that musically, the group could inject new life into the stale Mando-pop scene. — DAVID CHEN |
Recognized as Best Newcomer at this year’s Golden Melody Awards, Debbie Hsiao (蕭賀碩) has made a confident and impressive showing with her debut Mando-pop album, Shuo’s Map (碩一碩的流浪地圖). But Hsiao is no newcomer when it comes to songwriting — she has penned for superstars A-mei (張惠妹) and Stefanie Sun (孫燕姿).
Entirely self-produced by Hsiao, Shuo’s Map has a very intimate sound, even with the grand, instrumental orchestration that adorns many tracks. The album is unabashedly romantic. The first song, Salanheo (我愛你), which means “I love you” in Korean, is a straightforward Mando-pop ballad in form, but Hsiao’s vocal delivery and the lush instrumental backing are emotionally convincing.
Hsiao draws from a wide palette of sounds in her song arrangements, which leaves some distinctive touches: in Unfair (不公平), warm, percussive tones from a Hammond organ spice up an otherwise ordinary ballad, while synthesizers enhance the amorous mood of Wandering Map (流浪地圖). There are a few flops: the synthesized horns in Mama’s Belly sound harsh and obscure the natural tones of the piano and drum.
While she has a knack for standard Mando-pop ballads, Hsiao’s compositional talents shine in Oh! Love (唉愛), which sounds inspired by Kate Bush with its ethereal backing vocals and sampled drum loops. Nonstop Rain (雨不停歇) leans toward mainstream Mando-pop territory, but still feels down-to-earth with its electric guitar-centered sound.
It seems obligatory for Mando-pop stars to tackle a few English songs, but Hsiao seems to embrace the task. The accented English doesn’t detract from Her, and Hsiao’s impeccable vocal phrasing shows a clear command of every word sung.
There is a sense of thoroughness on Shuo’s Map, from Hsiao’s songwriting to the final production quality. The album is a must-listen for Mando-pop fans, and for those who are curious about the genre but don’t know where to start.
— DAVID CHEN |
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