ShuiMei
12-28-2008, 06:49 AM
It is easy for artists to simply get accustomed to the motions of releasing an album every year without offering anything new or dynamic, and when you're Jay Chou the most consistent criticism of your music is exactly that it's unchanging. This has been a constant point of frustration for me, as I have found that with almost every new album Jay has managed to challenge himself and create something genuine and different. Indeed, it is this experimental nature of his music that makes me esteem and enjoy his music so much. Now with his ninth studio album, Capricorn, Jay demonstrates again his ability and willingness to push himself into different directions, yet still stay true to his personal style.
The first track, "Long Zhan Qi Shi" is an intense track that perfectly embodies everything I love about Jay Chou. Heavy instrumentation coupled with aggressive and emotive vocals, it's a powerful song. I am absolutely in love with the grand symphonic opening that transitions into the catchy synth-rock rhythm that carries throughout the rest of the song. It is somewhat reminiscent of "Lan Se Feng Bao" from November's Chopin and with that, it does feel familiar but there is also something refreshingly new about it too. The vocal performance is more varied, it's not just aggressive, it's more layered, feels fuller and carries more depth.
When I think of Jay Chou, I think about songs like this and it is Jay's ability to create bold, daring tracks like "Long Zhan Qi Shi" and make them new and different that makes him so enjoyable for me.
The next song, "Gei Wo Yi Shou Ge De Shi Jian" (Track 2) is a catchy R&B pop ballad. There is an obvious R&B influence in Jay's vocal execution throughout the song, a lot of self-harmonizing, and the chorus has a strong Korean-pop ballad vibe, but there are still strong traces of "Jayisms," especially in the bass notes during the verses and bridge. While it is not a favourite of mine, and the song can seem to drag on a bit, it is certainly a track that grows on you.
However, I cannot say that I have the same affection for the next track "She Wu" (Track 3). It's a cocky hip-hop/rap track but I find the song too repetitive for my taste and honestly, I think it would have served him better as an interlude rather than a whole song. It also features Lara from Nan Quan Mama, but I think she is very poorly utilized here, as if she were some nameless female back vocal. As the song goes on, the repetitive rhythm and Jay's unchanging vocal performance feels tired and loses its charm for me.
Nevertheless, Jay more than makes up for it with "Hua Hai" (Track 4). I will be the first to admit that pop ballads usually are not my favourite songs from Jay and that they are usually hit-or-miss with me, but "Hua Hai" is refreshingly honest in its execution.
Apparently opinions on Jay's vocal performance in this song are rather mixed and controversial but I think he sounds very emotive and sincere. Indeed, I find his falsetto notes to be especially striking. For those who think that Jay's falsetto in "Hua Hai" is overly ambitious, I think they are overlooking Jay's musical philosophy in that he's not just singing with his voice, he's also using it as an instrument, using it to compliment the composition and instrumentation.
Anyway, for myself personally, it is the imperfect vocals that make the song. Indeed, I have long been a fan of the strain in Jay's voice as he reaches for those notes. Jay has never been an amazing or perfect vocalist, he has always mumbled and strained his way through songs but I just think there's something beautifully genuine in its imperfection, it really humanizes him.
Moving on, I was skeptical of "Mo Shu Xian Sheng" (Track 5) at first, and it's still mostly a song that does not speak to me, but it is cute and playful. I was not particularly fond of "Niu Zi Hen Mang" from On the Run either, not because I necessarily thought it was a bad song but I just could not take it seriously. To be fair, "Mo Shu Xian Sheng" does try to be more as Jay does have some genuine moments of vocal expression and experimentation throughout the song, but above all I think this song is a narrative, a performance and speaks to Jay's musical playfulness and showmanship.
"Shuo Hao De Xing Fu Ne" (Track 6) is exactly the kind of song I expect from Jay. It is well-balanced, well-executed, precisely the kind of song that Jay does well and precisely the kind of song that makes him so popular. For me, I usually don't care too much for these types of songs, I usually want something bolder. With that, my first impressions were that it was nice but kind of generic, composition-wise I want Jay to be more ambitious. However, the song can certainly grow on you and Jay's voice sounds wonderfully emotive, especially during the bridge and the chorus, I think it builds really beautifully at the end.
"Lan Ting Xu" (Track 7) is an absolutely gorgeous Chinese-style ballad. Jay has not really done a "Zhongguo Feng" (China Wind) song before in his lower register, at least not this low, and with that, it makes for an interesting aural experience. Jay sounds decidedly masculine here, his voice is not only deeper but richer as well, there is a texture in his voice in this register that he does not have when he sings in his normal range. However, when he does switch back and then gets into his more operatic style, it doesn't take away from the effort, rather it provides a powerful contrast that demonstrates his vocal range. With that, in "Lan Ting Xu" Jay has given us something new and refreshing in the genre that he has helped pushed forward in the Chinese popular music industry.
Jay follows with "Liu Lang Shi Ren" (Track 8), a truly dynamic blues-inspired track with Gary formerly of Nan Quan Mama. Heavy with harmonica and guitar, Jay creates a sexy, exotic sound that it is very different from anything that he has ever done before. Nevertheless, the song still manages to remain true to Jay with his relaxed yet somewhat cocky vocal performance, which works well with Gary's rougher, sandy voice. It's a surprisingly enjoyable and well-executed song that demonstrates, despite what others may say, that Jay is still a bold, experimental songwriter, someone who is always seeking out new styles and genres.
Next is "Shi Guang Ji" (Track 9), an uptempo acoustic pop track. It is light and sweet, a song that is likely to be fairly popular with others. On the other hand, there is nothing really new or outstanding about it, but it's a nice song with some really lovely instrumentation. Vocally, I think it is a bit uninteresting. Indeed, I think the composition to be more pleasant than the singing, which is not bad, but I would have liked something more interesting. However, I do find that there is more depth as the song builds up towards the end.
"Qiao Ke Shu Shu" (Track 10) is both playful and quirky, similar to "Mo Shu Xian Sheng" (Track 5); however, I find that I enjoy this track more. There is an underlying latin flair to the song which gives it a light, danceable quality and Jay's cheeky falsetto makes it a fun listen.
Finally, the album concludes with "Dao Xiang" (Track 11). Overall, it's a pleasant, cute, folksy pop song, but the most compelling part of the song for me is undoubtedly the fiercely aggressive rap, which boldly breaks out from the light atmosphere of the song. Again, this shows how adaptable and dynamic Jay is as an artist, as he just transitions so seamlessly from sweet, melodic pop singer to bold rap artist in a single song. Jay's range as a performer, a songwriter, and an artist is remarkable and something I really value.
Ultimately, I think Capricorn is an incredibly strong and enjoyable album, one of Jay's best in recent years. Indeed, I like it better than I did On the Run, which I found to mostly offer standard Jay fare with a few lovely standouts. With Capricorn, while I cannot say I adore every track, I do think that overall, the songs are both enjoyable and interesting, making it a solid offering.
While there are, and always will be, the sort-of "standard" tracks on each album, Jay was not complacent here, instead he was rather ambitious. In my opinion, Jay does not need to wholly reinvent himself and his music in order to "evolve" or "grow" as an artist, I want him to stay true to his musical style, it's what defines him and is what made him into what he is today.
Essentially, it is Jay's ability to build on that style and incorporate, experiment with other sounds, techniques and genres that makes him stay relevant and continue to captivate listening audiences. This is evident in Capricorn with songs like "Lan Ting Xu" (Track 7), in which he manages to bring something new to a genre that was becoming more of an obligation than an innovation to him, or in "Gei Wo Yi Shou Ge De Shi Jian" (Track 2), where he returns to his R&B pop ballad roots with new vocal techniques to create a fuller sound. Jay's penchant for experimentation has never been limited to just his musical compositions, with his use of instruments and sound effects, it has also been in the use of his voice. Vocally, Capricorn is a cornucopia of techniques and tones: this album truly demonstrates the depth and range of Jay as an artist.
With that, in Capricorn I feel and hear much more of that creative musical spirit that I have always admired in Jay. This is not to say that Jay does not consistently produce songs that I find uninteresting, but at the same time he always proves to me that he is still musically ambitious, genuine and inspired.
Favourite Tracks
Long Zhan Qi Shi (Track 1), Hua Hai (Track 4), Lan Ting Xu (Track 7) and Liu Lang Shi Ren (Track 8)
The first track, "Long Zhan Qi Shi" is an intense track that perfectly embodies everything I love about Jay Chou. Heavy instrumentation coupled with aggressive and emotive vocals, it's a powerful song. I am absolutely in love with the grand symphonic opening that transitions into the catchy synth-rock rhythm that carries throughout the rest of the song. It is somewhat reminiscent of "Lan Se Feng Bao" from November's Chopin and with that, it does feel familiar but there is also something refreshingly new about it too. The vocal performance is more varied, it's not just aggressive, it's more layered, feels fuller and carries more depth.
When I think of Jay Chou, I think about songs like this and it is Jay's ability to create bold, daring tracks like "Long Zhan Qi Shi" and make them new and different that makes him so enjoyable for me.
The next song, "Gei Wo Yi Shou Ge De Shi Jian" (Track 2) is a catchy R&B pop ballad. There is an obvious R&B influence in Jay's vocal execution throughout the song, a lot of self-harmonizing, and the chorus has a strong Korean-pop ballad vibe, but there are still strong traces of "Jayisms," especially in the bass notes during the verses and bridge. While it is not a favourite of mine, and the song can seem to drag on a bit, it is certainly a track that grows on you.
However, I cannot say that I have the same affection for the next track "She Wu" (Track 3). It's a cocky hip-hop/rap track but I find the song too repetitive for my taste and honestly, I think it would have served him better as an interlude rather than a whole song. It also features Lara from Nan Quan Mama, but I think she is very poorly utilized here, as if she were some nameless female back vocal. As the song goes on, the repetitive rhythm and Jay's unchanging vocal performance feels tired and loses its charm for me.
Nevertheless, Jay more than makes up for it with "Hua Hai" (Track 4). I will be the first to admit that pop ballads usually are not my favourite songs from Jay and that they are usually hit-or-miss with me, but "Hua Hai" is refreshingly honest in its execution.
Apparently opinions on Jay's vocal performance in this song are rather mixed and controversial but I think he sounds very emotive and sincere. Indeed, I find his falsetto notes to be especially striking. For those who think that Jay's falsetto in "Hua Hai" is overly ambitious, I think they are overlooking Jay's musical philosophy in that he's not just singing with his voice, he's also using it as an instrument, using it to compliment the composition and instrumentation.
Anyway, for myself personally, it is the imperfect vocals that make the song. Indeed, I have long been a fan of the strain in Jay's voice as he reaches for those notes. Jay has never been an amazing or perfect vocalist, he has always mumbled and strained his way through songs but I just think there's something beautifully genuine in its imperfection, it really humanizes him.
Moving on, I was skeptical of "Mo Shu Xian Sheng" (Track 5) at first, and it's still mostly a song that does not speak to me, but it is cute and playful. I was not particularly fond of "Niu Zi Hen Mang" from On the Run either, not because I necessarily thought it was a bad song but I just could not take it seriously. To be fair, "Mo Shu Xian Sheng" does try to be more as Jay does have some genuine moments of vocal expression and experimentation throughout the song, but above all I think this song is a narrative, a performance and speaks to Jay's musical playfulness and showmanship.
"Shuo Hao De Xing Fu Ne" (Track 6) is exactly the kind of song I expect from Jay. It is well-balanced, well-executed, precisely the kind of song that Jay does well and precisely the kind of song that makes him so popular. For me, I usually don't care too much for these types of songs, I usually want something bolder. With that, my first impressions were that it was nice but kind of generic, composition-wise I want Jay to be more ambitious. However, the song can certainly grow on you and Jay's voice sounds wonderfully emotive, especially during the bridge and the chorus, I think it builds really beautifully at the end.
"Lan Ting Xu" (Track 7) is an absolutely gorgeous Chinese-style ballad. Jay has not really done a "Zhongguo Feng" (China Wind) song before in his lower register, at least not this low, and with that, it makes for an interesting aural experience. Jay sounds decidedly masculine here, his voice is not only deeper but richer as well, there is a texture in his voice in this register that he does not have when he sings in his normal range. However, when he does switch back and then gets into his more operatic style, it doesn't take away from the effort, rather it provides a powerful contrast that demonstrates his vocal range. With that, in "Lan Ting Xu" Jay has given us something new and refreshing in the genre that he has helped pushed forward in the Chinese popular music industry.
Jay follows with "Liu Lang Shi Ren" (Track 8), a truly dynamic blues-inspired track with Gary formerly of Nan Quan Mama. Heavy with harmonica and guitar, Jay creates a sexy, exotic sound that it is very different from anything that he has ever done before. Nevertheless, the song still manages to remain true to Jay with his relaxed yet somewhat cocky vocal performance, which works well with Gary's rougher, sandy voice. It's a surprisingly enjoyable and well-executed song that demonstrates, despite what others may say, that Jay is still a bold, experimental songwriter, someone who is always seeking out new styles and genres.
Next is "Shi Guang Ji" (Track 9), an uptempo acoustic pop track. It is light and sweet, a song that is likely to be fairly popular with others. On the other hand, there is nothing really new or outstanding about it, but it's a nice song with some really lovely instrumentation. Vocally, I think it is a bit uninteresting. Indeed, I think the composition to be more pleasant than the singing, which is not bad, but I would have liked something more interesting. However, I do find that there is more depth as the song builds up towards the end.
"Qiao Ke Shu Shu" (Track 10) is both playful and quirky, similar to "Mo Shu Xian Sheng" (Track 5); however, I find that I enjoy this track more. There is an underlying latin flair to the song which gives it a light, danceable quality and Jay's cheeky falsetto makes it a fun listen.
Finally, the album concludes with "Dao Xiang" (Track 11). Overall, it's a pleasant, cute, folksy pop song, but the most compelling part of the song for me is undoubtedly the fiercely aggressive rap, which boldly breaks out from the light atmosphere of the song. Again, this shows how adaptable and dynamic Jay is as an artist, as he just transitions so seamlessly from sweet, melodic pop singer to bold rap artist in a single song. Jay's range as a performer, a songwriter, and an artist is remarkable and something I really value.
Ultimately, I think Capricorn is an incredibly strong and enjoyable album, one of Jay's best in recent years. Indeed, I like it better than I did On the Run, which I found to mostly offer standard Jay fare with a few lovely standouts. With Capricorn, while I cannot say I adore every track, I do think that overall, the songs are both enjoyable and interesting, making it a solid offering.
While there are, and always will be, the sort-of "standard" tracks on each album, Jay was not complacent here, instead he was rather ambitious. In my opinion, Jay does not need to wholly reinvent himself and his music in order to "evolve" or "grow" as an artist, I want him to stay true to his musical style, it's what defines him and is what made him into what he is today.
Essentially, it is Jay's ability to build on that style and incorporate, experiment with other sounds, techniques and genres that makes him stay relevant and continue to captivate listening audiences. This is evident in Capricorn with songs like "Lan Ting Xu" (Track 7), in which he manages to bring something new to a genre that was becoming more of an obligation than an innovation to him, or in "Gei Wo Yi Shou Ge De Shi Jian" (Track 2), where he returns to his R&B pop ballad roots with new vocal techniques to create a fuller sound. Jay's penchant for experimentation has never been limited to just his musical compositions, with his use of instruments and sound effects, it has also been in the use of his voice. Vocally, Capricorn is a cornucopia of techniques and tones: this album truly demonstrates the depth and range of Jay as an artist.
With that, in Capricorn I feel and hear much more of that creative musical spirit that I have always admired in Jay. This is not to say that Jay does not consistently produce songs that I find uninteresting, but at the same time he always proves to me that he is still musically ambitious, genuine and inspired.
Favourite Tracks
Long Zhan Qi Shi (Track 1), Hua Hai (Track 4), Lan Ting Xu (Track 7) and Liu Lang Shi Ren (Track 8)