Vienna Teng:
Inland Territory

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respectable

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Vienna Teng

Female songwriter finds inspiration in Lilith Fair vets

With her nimble piano arpeggios and Lilith Fair balladry, Vienna Teng casts a backward glance during Inland Territory, a retro-minded release anchored in the legacy of Tori Amos, Sarah McLachlan and other mainstays of the mid-‘90s female-songwriter boom. Teng’s vocals occupy the spotlight, melding an alto timbre with the careful, articulate delivery of a poetry grad. Her fourth studio effort gives little notice to modern trends, however, choosing instead to align itself with the Clinton-era pop/rock of Amos disciples such as Paula Cole. Accordingly, Inland Territory feels slightly outdated, as if its songs are more apt to orchestrate a forgotten episode of Dawson’s Creek than wind up on Grey’s Anatomy.

Vienna Teng

The lack of contemporary attitude does little to spoil songs like “The Last Snowfall,” with its cathedral harmonies and sparse beauty, and Teng fortunately makes room for other styles as the album progresses. “White Lie” welcomes effects-laden guitars and keyboards into the mix, bolstering the tracklist with a rare jolt of energy, while “In Another Life” blends klezmer instruments with Dixieland jazz. When Teng returns to her comfortable role as emotive balladeer, however, few tracks can shoulder the weight of her influences, making Inland Territory a destination merely for dedicated fans and nostalgia-seeking listeners.

Listen to Vienna Teng on MySpace.

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2 Comments

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By NCrabtree on May 11, 2009

I have to disagree with this review as I have BECOME a Vienna Teng fan due to this album. I heard "The Last Snowfall" in my local Barnes and Noble and I was hooked instantly. I teach music for a living and hear a LOT of it. It's been awhile since I've heard so much in one place that's so different. From Ms. Teng's virtuosic piano playing to her hypnotic vocals, every track is a favorite (even "White Light", not "White Lie" as the Paste reviewer miss typed). One also can't fail to commend Alex Wong's masterful co-composition, orchestrations, percussion, vocals, and producing prowess as well. I saw both last night in Charlotte, N.C. along with cellist/guitarist Ward Williams. All 3 are masters at their craft...One of the top 3 concerts of a lifetime. Do yourself a favor and look for them on tour or, at the very least, buy this album.

By AnandU on November 9, 2009

I would also have to disagree with Mr. Leahey's review. First off, I think likening Vienna Teng to Tori Amos or Sarah McLachlan is short sighted. It's the same as lumping together Metallica and Megadeth. I think fans of heavy music would agree that although there are similarities, the differences vastly outweigh any overly generalizing comparison. The same holds true for Teng. More than anything though, her music comes across as honest: from it's inception, to it's compostion and ultimately it's recording and performance. I don't think she is trying to to be modern or retro (or to craft her tunes towards gettting them on a TV show.) Inland Territory is a truly well crafted record, where each song has been given the attention to be what it is and to live in its own creative space. At the same time the album is not disjointed, but rather sonically and lyrically diverse and satisfying.

A word on "good" music. Music is not better because it tries to meet a "contemporary attitude" nor is it worse because it draws from non-contemporary styles. The whole idea that music can be "outdated" is in itself a flawed perception. Music should be judged based on the merit of each individual compostion, not whether or not it sounds like it belongs to a particular era. If it's good, then it's good. And Vienna Teng's Inland Territory is good.