Dreaming Through The Noise

2枚のインディー作品が大きな話題を呼び、マデリン・ペルー、ジョニ・ミッチェルなどのプロデュースで知られるラリー・クラインと運命の出会いを果たしたアメリカ出身の女性シンガー・ソングライター、ヴィエナ・タンが遂にワールド・デビュー!! 彼女自身が奏でるピアノ・サウンドに、ジャズ/フォークなど多彩な音楽が融合したサウンドは、ネオアコ新世代ともいえる瑞々しさに溢れながらも、ジョニ・ミッチェル、ジャニス・イアン、ヴァネッサ・カールトンらを彷彿とさせる’70sフォーク・フレイヴァーを存分に感じさせる作品。

Dreaming Through the Noise is, musically speaking, more about dreaming than noise, because Vienna Teng's album is never noisy. Instead, she cultivates a dense soundscape comprised of everything from guitars, percussion, and pianos to violins, violas, and string arrangements. The light timbre of Teng's vocals fit easily within this mesh, becoming yet another element in the overall sound. This approach is very seductive on "Love Turns 40," a moody lyric that captures the imagined feeling of an ex-cinema star on the downward slide. It's reminiscent of Natalie Merchant singing "San Andreas Fault," though Teng is less elliptical than Merchant. As attractive as Teng's approach is, it can grow a bit precious on songs like "I Don't Feel So Well," which gives the impression of Tori Amos-lite. There's also a tendency, thanks to the soft arrangements and production, for the material to meld together as though the songs were mini-suites inside a bigger work. These qualities do create a dream-like effect, allowing the listener to commingle with Teng's moods and float along with her songs. There are also some very nice touches, as with the Miles Davis-styled trumpet on "Transcontinental, 1:30 A.M." Dreaming Through the Noise may prove too sedate for some listeners, but Teng has done a good job combining music and mood, lyric and atmosphere, that goes beyond the typical singer/songwriter's method. ~ Ronnie D. Lankford, Jr.|

カリフォルニア在住の中国系シンガー・ソングライターによる3作目。ピアノの弾き語りスタイルを軸にギターやストリングスを添えたサウンドは、フォークとポップスの間を行くようなものから室内楽やジャズ的なムードのものまで、振り幅の広さも十分。囁くように歌われる憂いを帯びたメロディーや、キャッチーさとエキセントリックさの同居も魅力的な良質の作品です。ジョニ・ミッチェルとかが好きな方もぜひ。
bounce (C)吉村 健