Review of Vienna Teng's Inland Territory

Since her 2002 debut, Waking Hour, pianist, singer and songwriter Vienna Teng has been quietly releasing intelligent, introspective albums of chamber pop to critical acclaim and an ever-growing base of loyal fans. Is her latest release, Inland Territory, more of the same? Yes and no.

The wide range of themes covered here is nothing unusual for Teng. She continues to examine such issues as politics, immigration, the environment, war… and relationships, of course… with her usual lyrical flair. Her writing is as sharp and insightful as ever, with occasional flashes of wry humor. As with all good songwriters, Teng has a unique way of looking at the world, and in Inland Territory she continues this tradition.

In terms of sound, however, she’s grown considerably more adventurous—and this is a good thing. The most common criticism of her 2006 release, Dreaming Through the Noise, was that songs tended to meld together because the instrumentation and arrangements were too similar. No such problem here. This is due in part to her new producer, Alex Wong, formerly of The Animators, and in part to the group of gifted musicians she’s brought on board—some members of her touring band, some not.

The opening track, “The Last Snowfall,” is a perfect example of the musical collaboration that characterizes this album. Producer Wong uses the sound of crackling record static as a percussion loop, which serves as a backdrop for the simple lyrics: “If this were the last snowfall/No more haloes on evergreens/If this were my last glimpse of winter/What would these eyes see?” For the wordless, soaring refrain, Teng’s soft soprano is joined by fellow singer-songwriters Odessa Chen, Noe Venable and Ari Hest, and the effect created by their combined voices is nothing short of magical. Guitar virtuoso Kaki King lends her talents to the Latin-influenced “No Gringo” as well as the ethereal soundscape of the closer, “St. Stephen’s Cross,” in which Teng multi-tracks her vocals to create the effect of a choir. Some songs, like “Stray Italian Greyhound” and “Antebellum,” with their slow builds and lush string arrangements, wouldn’t sound out of place in a film soundtrack. At the other end of the musical spectrum are songs like the edgy, guitar-driven “White Light” and the rollicking “Grandmother Song,” in which Teng sings about the family conflicts created by her musical career over handclaps and fiddle: “Oh girl your story’s all wrong/Your dream’ll be a nightmare before too long/Turning thirty and still trying to sing your songs/Come on who do you think you are?”

Unless she chooses to share it in song, we’ll probably never know exactly who Vienna Teng thinks she is. However, it’s clear that many critics and many fans think she is an immensely talented musician and songwriter, and Inland Territory is proof not only of her technical skill but also of her willingness to experiment with her sound and challenge herself.

Visit her web site or Myspace for song samples and upcoming US tour dates. Also check out the Inland Territory EPK for a behind-the-scenes look at the new album.