Teng’s musical style incorporates folk, pop, classical piano, and a cappella influences. She took her stage name “Vienna” from the Austrian city famous for its musical history, and “Teng” from the surname of famous Taiwanese singer Teresa Teng. She began studying classical piano at the age of 5. A treat for all.Vienna Teng / 史逸欣 (born Cynthia Yih Shih on October 3, 1978) is a Taiwanes… Read Full Bio ↴ Vienna Teng / 史逸欣 (born Cynthia Yih Shih on October 3, 1978) is a Taiwanese American pianist and singer-songwriter based in New York City. Without doubt its in my top three releases of 2009 and just continues to grow upon each listen. By just moving her styles and sounds around slightly, Vienna is able to keep everything fresh whilst not alienating her core fans by being stale. Inland Territory is a self assured fantastic album from an artist on top form and comfortable with herself and her style. Stephens Cross” which is beautiful serene track that soothes you to sleep with understated swaying euphoria. I personally really enjoy it but it may require a couple of listens to get into it for some. It leads into the quirky “Radio” which is like a schizophrenic song that doesn’t sit still and jumps around like a cat on speed. This dark brooding song is all about the ambience and the sting in the tail. “Watershed” is the slow smoky aftermath of No Gringo in my opinion and they fit perfectly together. It’s really like building for the battle, losing and crawling away. Gradually the slow builds into a final frenzied bursting climax where Vienna cries “No Gringo Aqui” before it all slips away again in a sloping upset. From the slow enveloping piano intro you’re held captivated by the story being told. “No Gringo” is the longest track of the album and fully deserves every second. Following up in piano rock track “Augustine” which is simple but powerful and one to sing along to whilst driving along – very empowering. However when it climaxes into its middle section the song takes full form and it just hits the spot perfectly. “Stray Italian Greyhound” is next up returning to a fantastically catchy piano led band track with a chorus to die for and perky verses. While neither have particularly happy lyrics they are unique strings to Vienna’s every increasing bow of extraordinary talent. Both have a certain charm to them, the former a kind of bopping 20’s wind and brass backing and the latter is a finger clicking hand clapping country jig. Lightening the mood somewhat is “In Another Life” and the absolutely swinging round the kitchen table “Grandmother Song”. It’s really very effective and heart wrenching. One of the finest songs in Vienna’s catalogue – as is in fact “Kansas” which is a slow baron piece with muted percussion and just minimal electric piano. Her co-producer adds his own vocals towards the end which you’ll either love or hate but personally I think it goes perfectly. The piano just keeps rolling, along with the percussion and sumptuous vocals. Next up is the flowing elegance of “Antebellum” which is contender for favourite song on the album. “White Light” also contains a lot of electronic embellishments which really set the song off and the chorus is rousing. In each of the opening tracks its not piano but organ that dominants the track. This gives way to “White Light” which is an up-tempo number. Wintry but in a warm log fire cabin way than an icy cold way. This opener is beautiful and almost Christmas like without the holiday cheer. Opening with “The Last Snowfall”, Vienna relies on atmosphere and delicate vocal delivery to set the mood. This partly because Teng’s vocals are silky smooth like a breath of fresh air, and the fact that all the songs on this album are absolutely captivating. Vienna Teng continues to know no bounds with her fourth album Inland Territory which manages to sound similar without retreading old ground or ever becoming stale.
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