JS is the rare Taiwanese music act that can succeed in both the worlds of commercial pop and edgy indie rock without compromising its integrity.
The group is comprised of Justin — real name Chen Chung-yi (陳忠義) — who writes the songs and plays the instruments, and younger sister Sophia — real name Chen Chi-hsuan (陳綺萱) — whose crystalline vocals waft across her brother’s folksy sonic landscape. On Thursday night they will be performing a themed concert titled Songs for Good Friends (好朋友的歌), a retrospective of their signature songs from the past decade.
The brother-sister duo got its start by winning top prize in MTV’s New Voice Competition in 1999. They signed with Sony Music and released their first album Say Forever under the name GoGo&MeMe (哥哥妹妹).
It wasn’t all smooth sailing after that promising start. A wave of industry restructuring following the advent of the MP3 and Internet-based music distribution put their recording careers on hold.
“We were shooting the music video for our second album in Japan and we got a phone call halfway through [telling us] that everyone on the team had been fired,” says Justin in a phone interview on Thursday last week.
In the restructured Sony, GoGo&MeMe became an orphaned act with no album release date.
During that period, Justin turned his attention to writing songs for other music acts.
“I completely loathed the so-called balage (芭樂歌) [catchy ballad] back in college,” explains Justin. “It wasn’t until I started working in the industry that I learned to understand it. It’s the art of discovering freshness within familiar terrain.”
Justin has since developed into a highly sought-after songwriter with a knack for penning hits. His oeuvre includes The Moment (sung by Sun Yunzi, 孫燕姿), I Am Fine (我很好) (sung by Rene Liu, 劉若英) and Staying Put With Love (鎮守愛情) (sung by Power Station, 動力火車).
Justin and Sophia eventually signed with Avex and changed their band’s name to JS, under which they have released three albums over the past decade: Meeting the Future (遇見未來) in 2004, The Most Beautiful Landscape in This Life (此生最美的風景) in 2008, and Justin’s songwriting retrospective The JS Moment (THE JS MOMENT JS 的創作故事集) in early 2009.
Recently they’ve broadened their musical palate, releasing three daring concept EPs: the folk-rock ROSSO — Sophia’s Banquet (ROSSO-蘇菲亞的盛宴), the punk-driven Nero~SCREAM, and the folksy Bianco — I Know You Love Me (Bianco — 我知道你愛我).
In May they made the
foray into electronica with
the EP Somewhere.
“With electronica, you treat the vocals as one music instrument,” says Justin. “You break down the music and reconstruct it.”
To support the EP, the group performed as the opening act at this year’s White Party in Taichung and Taipei.
“We were afraid of losing old fans who like our folk-rock sound, but we have to move on,” says Justin. “We see ourselves as a group that’s exploring different styles in its second decade.”
In the next few months tough decisions will need to be made by the Taiwan People’s Party (TPP) and their pan-blue allies in the Chinese Nationalist Party (KMT). It will reveal just how real their alliance is with actual power at stake. Party founder Ko Wen-je (柯文哲) faced these tough questions, which we explored in part one of this series, “Ko Wen-je, the KMT’s prickly ally,” (Aug. 16, page 12). Ko was open to cooperation, but on his terms. He openly fretted about being “swallowed up” by the KMT, and was keenly aware of the experience of the People’s First Party
Aug. 25 to Aug. 31 Although Mr. Lin (林) had been married to his Japanese wife for a decade, their union was never legally recognized — and even their daughter was officially deemed illegitimate. During the first half of Japanese rule in Taiwan, only marriages between Japanese men and Taiwanese women were valid, unless the Taiwanese husband formally joined a Japanese household. In 1920, Lin took his frustrations directly to the Ministry of Home Affairs: “Since Japan took possession of Taiwan, we have obeyed the government’s directives and committed ourselves to breaking old Qing-era customs. Yet ... our marriages remain unrecognized,
Not long into Mistress Dispeller, a quietly jaw-dropping new documentary from director Elizabeth Lo, the film’s eponymous character lays out her thesis for ridding marriages of troublesome extra lovers. “When someone becomes a mistress,” she says, “it’s because they feel they don’t deserve complete love. She’s the one who needs our help the most.” Wang Zhenxi, a mistress dispeller based in north-central China’s Henan province, is one of a growing number of self-styled professionals who earn a living by intervening in people’s marriages — to “dispel” them of intruders. “I was looking for a love story set in China,” says Lo,
During the Metal Ages, prior to the arrival of the Dutch and Chinese, a great shift took place in indigenous material culture. Glass and agate beads, introduced after 400BC, completely replaced Taiwanese nephrite (jade) as the ornamental materials of choice, anthropologist Liu Jiun-Yu (劉俊昱) of the University of Washington wrote in a 2023 article. He added of the island’s modern indigenous peoples: “They are the descendants of prehistoric Formosans but have no nephrite-using cultures.” Moderns squint at that dynamic era of trade and cultural change through the mutually supporting lenses of later settler-colonialism and imperial power, which treated the indigenous as