The Voice

Issue date: 4/27/09 Section: Diversions

Media Credit: Photo courtesy of Rounder Records Vienna Teng's latest album 'Inland Territory' was released on April 7 by Rounder Records. She will be touring in support of the album through July, and will perform at the East Lansing Art Festival on May 16.

Inland Territory is the fourth studio album by Vienna Teng, a 30-year-old singer-songwriter who began playing classical piano at the tender age of 5, and started writing
music at 6.

Teng's music is a diverse mix of everything from traditional folk to classical, jazz and pop. Comparisons could easily be made to many of the female singer-songwriters of the late 90's Lilith Fair movement. One can't help but hear the infl uence of such artists as Tori Amos, Paula Cole, Shawn Colvin, and even Fiona Apple.

That said, and obvious influences aside, Teng finds originality in her deeply personal lyrics and musical depth on this album.

A large credit for the musical diversity of the album is due to Teng's partnership with multitalented friend Alex Wong. He is responsible for assisting on the album with recording, arranging, drums, percussion, programming, vocals, keyboards, acoustic guitar, and he also co-wrote the song "Antebellum" with Teng.

The album starts strong with "The Last Snowfall," a stripped-down ballad that starts with the crackle of a vinyl-record, building with Teng's beautiful alto vocals over Wurlitzer piano and climaxing with soaring angelic backing vocals.

The next track is "White Light," Teng's obvious attempt at a breakout single, which it easily could be. It's by far the most upbeat and catchy song on the record, with its thumping bass line, layered keyboards, guitars and up-tempo beat. It's also one of those songs you find creeping into the depths of your brain without you knowing it. Before you know it, you're in line at the bank with the chorus repeating in your head: "If you knew it was wrong, why did you do it?"

The album hits a bit of a lull for the next couple of tracks, but gains steam midway through.

"Grandmother Song" is probably the most fun of the entire album. It's a foot-stomping, bluegrass-style jamboree, complete with fiddle, hand claps and piano-bench percussion. It's an autobiographical tale about the difficulties of breaking family traditions to pursue your dreams.

Other stand out tracks on the album includes "Stray Italian Greyhound," with a complete string section ascending over carefully programmed blips and bleeps. "Augustine" could easily be the follow up single of the album, and is probably the finest example of Teng's piano playing and vocal ability.

Overall, this album is a very strong effort that commands the listener's attention. And with music listener's attention spans growing shorter by the day, sometimes great
music gets passed by.

But Teng has grown a loyal following through good old fashioned hard work, writing good songs, making quality recordings, and constant touring. Teng is dedicated to her craft and should be making good music for many years to come.

Pay attention!

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