Anti-Fahrenheit Critics

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Fahrenheit aka Fei Lun Hai is the new Taiwanese boysband in vogue in France. Successor of F4 (and less successful), the quartet born in 2005 out of the early 2008 his second album, Two-sided Fahrenheit. Needless to say, the group owes its popularity to the charm of its members, originally actors and singers for television series (including Wu Chun who played in the adaptation of the manga Hanakimi Tokyo and Juliet). No surprise, Two-sided Fahrenheit is an album of ballads for dressmakers innocent, that the physics of four young ephebes attracts more likely that the music itself.

The label HIM, by launching Fahrenheit, probably did not claim them make great music. The humble goal has been achieved: the target audience, young girls in flower who dream of great love-the age group most-spender, fully agrees with the concept and buys CDs by the group hundreds of thousands of copies on the whole of Southeast Asia. Countless editions of the new album Two-sided Fahrenheit exist: with or without DVD (which includes, among others clips Superb and Cannot Love), Japanese versions, Hong Kong or Taiwan, deluxe or standard?Not transcendent despite its harmonious voice, more mature and a first place unsurprisingly in the local charts, this opus can be listening distractedly playing in the background, unable to vibrate a single chord of our being.

Few things stand out from listening to Two-sided?The rival slows a platitude unexpected. The first title Xin Wo (opening Romantic Princess sung as a duet with big sisters SHE), Zhi You Shao Hai Wo or Ming Ri Xiang puzzled by the blatant lack of originality melodies. They look so alike that it is impossible to distinguish one song from another?especially without mastering the language. Number of agreements recall furiously Jay Chou, the artist benchmark languid ballads. Fortunately, the boys sing well. The small chorus of disorderly Chu Shen Ru Ha, generic beginning of the drama X-Family, for example, is tasty. Similarly, the rising power that concludes Wan Yi Ge Kuai Le we r閏oncilierait almost 10 track with the genre. Ti Amo is the ballad of the album: the duo Aaron Yan / Liu Li Yang works well. With his melodious voice and a good safe, Liu Li Yang made in the shadow of Aaron Yan, which has a nice tone, but no power.

If Two-sided full of honeyed Fahrenheit, a few more titles entra頽ants timidly engage in R & B or hip hop. We find this exercise in style for many young Asian boysbands like Dong Bang Shin Ki using the same formula: the alternation of songs and slows oriented funk, soul and R & B. We discover with relief and a little hint of electro and breaks pace clocked in Chu Shen Ru Hua, the violin judiciously combined with a small scratch and hip-hop sounds gap on Xin Li You Shu (a must CD that gets sway of the basin), or the xylophone, which gives a fairytale at the beginning of the leading and light Xiao Xiao De Ren Wu The latter, used as a theme song for Disneyland, playing with his electronic sounds typed "cartoon space." The resumption of Xin Wo On the track 12 is more forceful than the co-interpreted SHE who initiated the CD [NotE: there is the margin before reaching me out of the lethargy!匽. It would have preferred single. Finally, Chao Xi Huan Ni allows the quartet perform pop, punk and even very nice (to be crazy) with a small bridge hip hop. Slow and softness prevent s'extasier however. It also regretted that none of the styles can be addressed fully mastered, like Wang Dao De Ai(track 6) here an old synthesizer poorly resolved without real harmony with a rap flow drowned amid chants nonchalant.

Fahrenheit's music is pleasant to listen to, but does not, it has no soul and does not emotion. This is the recurring concern of the groups who are imposing lyrics and melody, and whose representatives (in this case the four young ephebes) absolutely does not engage in any personal message. Youth, innocence and naivety are therefore required to assess a minimum this new Fahrenheit. We would have liked more original but it will be content with a group honorable in his class; far from the discovery of the century, but with four voices blend well, no false notes, and romantic tunes diversified by adding sometimes from scratch, sometimes violin. An album that does advise that aficionados of fine guys, the other can pass their way.