MUSIC ALBUM Review:
<Addendum>
Source: http://3cmusic.com/home/addendumjuno/
A concept album called "Addendum"
was recorded by Hong Kong singer, Juno Mak, for his fourteenth music album in
the year of 2015, which was one of the most influential albums so far in his
singing career. The album was written by Wyman Wong who had the intention to
linger the affection of Juno's previous work《耿耿於懷》(“耿”) and procreate a sequel of its mental
association in depicting the inner feelings of the lovers after they break up
ten years ago.
The album was the grist for the gossip mill
for the reason that the overall conceptualization of the album had drastically
astonished many local fans as the same production team of (“耿”) produced
the new song《羅生門》which
had sweepingly altered the initiatory "fantasy" towards the
love life of the lovers in the song as well as the diversification of the
vision of love amid the male character and his ex-lovers.
The exclusive cooperation between Juno and
Wyman in terms of producing such nostalgic-oriented project manifested a
milestone of the progression of Canton pop. Put it differently, as regards to
its marketable success, one of the significant factors is that the album has
been disseminated in every direction around the community depend upon its sense
of nostalgia that resonates for an elapse of Canton pop prime age together with
the composition of “hit the nail on the head” lyrics of the album as focus in
having a sensationalistic exchange which was exactly what the music fan craved
in lasting their own fairyland to safeguard a spiritual comfort. For instance, "倆忘煙水裡", the sophisticated
lyrics “磊落志 天地心 傾出摯誠不會悔 獻盡愛 竟是哀 風中化成唏噓句" expressed sincere feelings with limited words that exhibited the exquisite competence of composers.
Source: <https://www.google.com.hk/searchq=ADDENDUM+JUNO+MAK&safe=off&biw=1280&bih=575&tbm=isch&source=lnms&sa=X&ved=0ahUKEwiojbf647MAhVLi5QKHWLRBeIQ_AUIBygB&dpr=1.5#imgrc=qy9HDW5irHcvNM%3A>
Furthermore indeed, “Addendum” received broadly
affirmative retrospect from music fanatic considering the album centered on a
common theme of romance that objectify repentance in finding true love as well
as the importance of fortunate timing. These intangible beliefs illustrated as
cornerstones in relationships and has embedded profoundly in the habit of
Canton pop. For example, the duet sang by Joey Yung and Hacken Lee, 《刻不容緩》. The lyrics “拖一拖 等一等 怕這點 激情 最後和緩 拖一拖 等一等 終於知 表白 刻不容緩” has thoroughly depicted
the uncontrollable destiny of couples. Besides, the arrangement of the
album not only examine closely on a specific concept which an unapproachable
and dreamlike of romance is emphasized, but also the continuity and coherence
of the narration in the song displayed as a distinctive concept album in recent
Canton pop industry.
The phenomenon of adolescent trying to put
themselves in idol’s situation can be studied in terms of the ideology of
idealism, romanticism as well as absolutism that can be collectively called a
mode of “star-worship”. In other words, the enthusiasm of attachment act as a
core value among teenagers in imitating an idol. Yet, the worship idol may be
over ideal or deified that shaped into an unattainable character.
Aside from that, Juno and Wyman had the
motive to erase and renovate another unique and gladdening impression for the
fans by means of destructing the previous story and set the saddening standard
to an extreme state. The album was to rouse the initiative of those who
are still suffering from the shadow of excruciating love to let go of the
irreversible and over-esteem hallucination, a fictitious fantasia that a person
you loved, you wished he or she is still showing sympathy and trying to trace
your current situation through social networking sites which does not exist.
(577 words)
Law Yuen Yung, Benson
10552929/21620667
Reference:
Chandler, D. (1997). Introduction
to genre theory. Retrieved from http://www.aber.ac.uk/media/Documents/intgenre/chandler_genre_theory.pdf
Dear Benson, The intertextuality (which you refer to "nostalgic-oriented") throughout the album or some of the songs in the album is worth examining. The discussion is nevertheless disrupted by the lyrics or reference with other songs not in the album. This is more a matter of presentation as the arguments are still fine. For a reader without experience in listening to so many local music in Hong Kong, it would be difficult to understand what the arguments actually mean. This is something that needs to be noticed.The mentioning of the "habit" of local canto-pop musicians is proper though.
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