THOMAS PODVIN’S FREELANCE WORK
Freelance writer - translator - Editor

Established fifteen years ago, Jogoya remains one of the most fashionable restaurants in Taiwan. Customers can enjoy elegant fusion cuisine in an unusual setting that combines hi-tech and the traditional. Their new menu offers just the sort of thing you’d expect to find in these surroundings: polished, groove heavy relaxing fare with an Oriental flavor. This two CD release (the second disc remixes the first), Jogoya assembles a 14 course bill – a mish-mash of Indian vocals, Europeans beats and Thai and Chinese sounds. This sounds like a recipe for indigestion, and as one might expect the quality varies. For starters, Karunes’s "Solitude" makes for a pleasant Indian dish, while Phak Rattap Khan’s "Hari Hara" is more a sickly downtempo appetizer. The Shakamunyi’s "Tantra" is altogether delicious and Edson X & MA3’s "Rhada Krishna" makes a delightful main course with traditional Indian flute with drums. Atman’s "Distant Voices" is just another Indian groove cut and as such too much to swallow. At this stage, the listener needs a strong liqueur before tasting the remaining courses; unfortunately, a digestive is not on offer.
High Note Records

(c) that's Shanghai Magazine
Chief editor: Steven Crane
March 2006 issue

(c)that's Guangzhou
Guanzhou Chief editor: Christopher Cottrell
March 2006 issue

Shanghai jazz clubs have flourished of late, but the scene is still struggling to find an identity. Yes, there is plenty of jazz, but not much of it is distinctive. Until now, perhaps. Jazz Revolution has fused Western jazz with Chinese melody (or maybe vice versa) and come up with something that soundsunique, what one might call the Shanghai Sound. This band of four – two Aussies and two Chinese – offers a new interpretation of material that has entered the collective musical psyche. For instance, they have recorded a languid jazzy rendition of Faye Wong’s “Sky”, and a reggae version of “Shanghai Talk”, a song from the famous Chinese TV-series Shanghai Tan. True, this approach will appeal more to Chinese listeners, and perhaps less to foreigners unfamiliar with these tunes. And some cuts unfortunately sound like Kenny G on a good day (Baroque with Me). But all in all, when the combination works, it works well (What a Wonderful World, Open Sea). The band’s real genius, and its originality, is most apparent in the trumpet solos, soulful vocals and on tracks that feature improvisation. “Feng Shui”, the first original composition on the album, features a traditional jazz structure and has a strong urban feel (a jazz anthem for the city?). By the way, a percentage of this album’s proceeds will be donated to a children’s charity organization. So do your part and support the revolution.
Orientalsky/Starsing Records

(c) that's Shanghai Magazine
Chief editor: Steven Crane
March 2006 issue

Milk@coffee is the sort of act that defies categorization; indeed, their style of music varies from one cut to the next. Much like adding milk to coffee, the result depends on the mix. Add just a little milk, and the coffee remains strong and bitter; add more and it becomes sweet and creamy. However, this Chinese band has more than two elements, and the mix of vocals, keyboards, samplers, electric guitar and break beats, provides endless variations. The tracks on this release combine pop rock, easy listening, new wave, trip hop and downtempo beats infused with the moody and mellow vocals of lead singer/songwriter Kiki. One might say she provides the milk, while keyboardist/producer/singer Gefei furnishes the coffee. In short, his yang is nicely balanced by her yin. The ‘@’ in the middle of the band’s name, suggest their use of the latest technology (computer game sound effects). It also hints at the origins of the pair’s union – on an Internet chat line. In any case, this low fat milk and home brewed java combination on the Beijing-based label Modernsky, is just the stuff for your next coffee klatch. Shuang!
Modernsky

(c) that's Shanghai Magazine
Chief editor: Steven Crane
March 2006 issue

Purity of sound is not in fashion these days; most bands prefer a musical stew. And Luxia is no exception with their eclectic blend of electronica, vocals, jazz and bossa nova. The project combines the talents of Jon Kingsley Hall and Peter George Stewart with co-production credit to Australian DJ Steve Hill and Mat Cook and vocals by Tiffany Nan Brace. It was conceived when Brace met with producer Hall at a music therapy workshop, and she proved that her powerful voice could compete with Hall’s beats. Indeed, her very emotional vocals are the most attractive features of Luxia’s sound (more compelling than Alexis Hart’s or Tom Ecologist’s). Though soulful, she can hardly be called melodramatic; the sound is much livelier than Portishead and less narcissistic than Bjork, for instance. Stewart and Hill’s production skills add a certain slickness, the lineage of which can be traced back to synth-pop Brit act, Kissing the Pink, Swedish/Danish DJ Stonebridge and French electronic artist St Germain. Like St Germain, Luxia’s beats provide the foundation upon which musical textures can grow, which make this music more suitable for the lounge, than the dance floor. Especially “Cool Mountain” and, “I Feel So Good” with their Nu/Soul jazz, trip hop, Bossa Nova sound; this is mellow, urban music at its best.
High Note Records

(c) that's Shanghai Magazine
Chief editor: Steven Crane
March 2006 issue

(c)that's Guangzhou
Guanzhou Chief editor: Christopher Cottrell
March 2006 issue

As the title suggests, this release is one part sexual innuendo and one part black humor. Formed in 1998, the Black Eyed Peas is an American multi-ethnic quartet that currently features three male rappers (a Jamaican-American, a Filipino, and a Mexican) and the very fit Californian female, Fergie. This is their fourth album, and their best effort to date. Most of the cuts feature musical dialogues between the boys and the girl, i.e. seductive word games with explicit lyrics. Take the anthem “Don’t Phunk with My Heart”; here, the lads express their interest in Fergie, who is not at all assured that intentions are honorable. The ambiguous nature of the lyrics has caused some US radio stations to play an edited version: “Don’t Mess with My Heart”. Another witty number, “My Humps” complains about women who use their looks to part men from their money. The ‘humps’ and ‘lumps’ referred to in the song stand for Fergie’s bottom and bosom. The CD has many more of these hilarious (to some) alternative hiphop/rap pieces, as well as guest appearances from James Brown, Sting, Talib Kweli, Macy Gray and others. With four Grammy nominations, BEP appears unstoppable; they’ve even been contracted to write and perform a song for the 2006 FIFA World Cup. Now that should be a kick.
A&M

(c) that's Shanghai Magazine
Chief editor: Steven Crane
March 2006 issue

(c)that's Guangzhou
Guanzhou Chief editor: Christopher Cottrell
March 2006 issue

This is a come back album for the Florida quintet, who went from being the new kids on the block in late 1990s, to the old chips off the block in the early 2000s. Following their Grammy award in 1998, the boy band became extremely popular, mainly with young girls. They sold tons of albums, 87 million, to be exact. But fame, ego, and drug and alcohol problems resulted in the band’s breakup two years ago. Now the backstreet boys are back. This release, after a five-year hiatus, is the band’s fourth effort and perhaps their last chance to prove they still have the right stuff. They do. Never Gone sold over two million copies in seven days and went number one in America, Europe and Asia. This release has it all: catchy hooks across the musical spectrum – ballads ("I still…"), soft rock ("Just Want You to Know"), R&B ("My Beautiful Woman"), pop dance numbers ("Poster Girl"). All sung in the usual soothing, uplifting vocals. That said, after one listen, it all sounds about the same. But no matter. Fans loved The Boys concert in Shanghai last January 2006, proving they do have staying power.
Sony-BMG

(c) that's Shanghai Magazine
Chief editor: Steven Crane
March 2006 issue

(c)that's Guangzhou
Guanzhou Chief editor: Christopher Cottrell
March 2006 issue