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With eleven albums under her belt in as many years, as well as an EP and multiple side projects, Wang started as a young artist under the wing of her father and mainstream music industry influence and has matured into a full-fledged musical auteur.

Going back and forth from producing original music to cover songs certainly shapes her catalog and people's perceptions of her as an artist. This familiar formula remains intact on Love Is Calling Me , but the approach seems to have its own unique flavor that is a departure from her earlier cover albums. Inflections of Wang's all-original record Modern Tragedy bleed through, but Love Is Calling Me has a more serious, sentimental flow.

Putting aside the playful, whimsical side of things shows an introspective window into the complications of romance, polished with a lingering side of psychedelia. On the opening track, "Apple Blossom," lush, multi-layered production accents the filtered, smoky vocals. A hushed, romantic tone sets the mood for the rest of the album which hinges on references to nature, longing, heartbreak, and redemption, all the while putting a modern twist on the classic love songs.

Most of these songs have been covered by multiple artists over the years, which gives them a tried and true emotional spirit. It's this spirit that lives on through Wang's unique interpretation of the songs. Although they vary in time and place of origin, the old-school cool vibrates in the balance of taking something that's been done and making it fresh. Producer Chris Funk of The Decemberists adds his own overarching contribution as a well-placed partner in Wang's cinematic and prolific vision.

Multiple love stories are intertwined and sung by a changing cast of characters all embodied by the vocalist. Wang told China Post : "I saw different women in those songs. Some are tragic, some are very lovely and some are sweet. With Adam Lee sitting in as the recording and mixing engineer, Ryan Francesconi helped with arrangement and handling the verbose instrumentation throughout the record. That's not to say the subtlety of stripped down simplicity doesn't also appear on songs like the lead single "I Only Care About You," which is the only song on the record that Wang was familiar with prior to conceptualizing Love Is Calling Me.

Three of the songs are repeated on the album with Japanese versions. This gives listeners a chance to revisit the songs in a different context that reveals the scope of how powerful they are, no matter what language is used for the lyrics. Sung delicately, each of the songs gives the instrumentation plenty of room to be fleshed out.

Compared to the dated originals, adding gorgeous wind instruments, strings, quirky sound effects, and vocal filters really adds new life. It's a bit dark and introspective, but the tone fits into the atmosphere created by Wang's vocal style, live instrumentation, and choice of songs to include on this project. On "Forget Him," our intrepid narrator leaves the man she truly loves. For "Lover," sung in both Japanese and Mandarin, the mood is meant to be distinctly different according to the language.

Wang feels one comes off as stronger in the situation, while the other expresses more sentimentality. To capture the visual direction of the album design, illustrator and comic book artist Brandon Graham drew the cover art and booklet inlays, which feature a whole world of alien creatures and sci-fi themes. Working with the same music video director, Robert Youngblood , and a wellspring of talented musicians and producers, as well as having an active role in developing each aspect of the project, Wang has the freedom and direction to keep her creative process humming along.

JW: The concept originated not long before I started the project. I had some interest in old Japanese music I was just kind of interested in the aesthetic of enka music. How enka singers express that kind of musicality. And then I heard an English psychedelic folk singer Vashti Bunyan. Her singing style is very light, whispery, very delicate singing.

I thought I would love to try to sing like that on a project. Then, my company approached me about making another cover album because I hadn't made one in a long time. I said OK I could combine these ideas that I was interested in old enka music and singing like Vashti Bunyan.

I could combine how to take these old Asian ballads and produce them in a psychedelic folk style. That was my initial concept. He's very well-versed in all kinds of music. So he would be somewhat familiar with old Japanese music and psychedelic music. I asked him if he was available to produce this project, but he said he was really busy touring with Beck. So I asked him to recommend a producer who would have the skills and the sensibilities and the knowledge and expertise to produce a concept like this.

He recommended the guitarist from the band The Decemberists, Chris Funk. I wanted to take these old Asian ballads and make them a lot dreamier and maybe a little bit darker and psychedelic. He loved the idea and wanted to work on the project We were corresponding via email and around April, I went over to Portland for preproduction, discussing the structure of the songs and the producing direction of the songs, like who are we going to hire, what's the instrumentation, what are the arrangements going to be like.

I went back to Taiwan, and we were all corresponding through email as Ryan was arranging everything we talked about what to fix or what direction to go in. In May, I went back to Portland for five weeks and finished recording the record. JW: They're always different every time. The things that majorly stand out are: one, these are not my songs. These are old ballads, with some of them having Japanese origins and that aesthetic, so not my material. But where it is the same is that this is a cover record but as I was singing them, and producing them with Chris and trying to build this sonic landscape, I did feel like I was digging in the same way I would on an original album.

Trying to go far with the imagination, in terms of that, I think the process is the same… One of the stand out things is the production of this album. It is one of the finer productions I've partaken in in my career. We were going for this old 70's sound. For the sonic quality, we were trying to emulate an older sound.

And it's not even that consistent, like some of it is like a 50's sound, some of it is like a 70's sound, some of it is a 60's sound In terms of that, I feel like this production is one of the most accurate and extravagant productions I've worked on. JW: I wanted to have more languages because I think it's more enriching. It makes the world feel richer. Different languages have slightly different sentiments, and characters and colors. I felt like it adds more layers to the world.

I thought it would be more interesting. And more mysterious because I've never really sung in those languages before. To sing in a language that is not exactly your own, in this instance Japanese and Cantonese are not my native languages, so it was like adding more cartoon characters to an imagined universe. JW: My criteria was, I wanted really dramatic and kind of sad stories that are also tender and beautiful, melancholy. Stuff I felt like would do well with this psychedelic interpretation Actually I am not too familiar with these old Asian hits, Taiwanese hits, or Japanese hits.

So at that time, I asked my colleagues in the company Sony Music , 'Can you guys provide songs you remember from your childhood from these big Asian singers, Taiwanese, Japanese, or Cantonese singers? JW: For me, music is a lot about exploring and creating a landscape.

Sometimes listening to music, I feel like there is this landscape that exists. There is something there that is very strong and very real, and to me that feeling I like to think of it as an underground space. Neverwhere by Neil Gaiman is about an underground world. That's kind of how I view what I try to do when I'm making music. It's like I'm carving out this kingdom of my imagination. The most beautiful space that I found in other people's artworks, books, illustrations, music, especially music, and I want to do that.

When I'm making music, that's what I'm imaging or the space that I'm in. I'm thinking 'I have to make this thing real. I have to further expand this underground world in my universe. The last cover album I made, Midnight Cinema I also felt like there was a bit of personal magic. This one is even a bit wilder perhaps. With this project, I felt like, in the process of recording these songs and making them happen, I had to dig and I had to make it quite imaginative.

Any time I feel like I have to dig or be more imaginative about something, it is like carving out part of that imaginary world. JW: I had just watched Cannibal! The Musical. After I watched it, I was looking for a stupid handle, like an internet handle, and I just used Alferd Packer.

The story was irrelevant, but the name became perfect for us. On House of Bullies , that's the aesthetics of the Weird Uncles. It's kind of gothic, probably very Danny Elfman inspired. It would be like Tenacious D and Oingo Boingo.

That's the vibe of the Weird Uncles. Dark and humorous and aggressive and crazy and kind of tongue and cheek, but also not tongue in cheek. There is sincerity in moments. I wrote all of the songs, but we did the production together. House of Bullies , that's when the Weird Uncles are in their essence, but… they are also my backup band for some gigs. They are dressed up as these French hookers.

They're just looking out the window, like "Where's Tony? Wondering where he could be. What is he thinking? Is he thinking of me? I love you, say we're together baby, say we're together, oh I need you, I need you forever baby, you and me You say you hardly know exactly who I am so hard to understand But I knew right from the start, the way I felt inside, if you read my mind and if you tell you don't need me anymore that our love won't last forever, no I will ask you for a chance to try again to make our love a little better I love you, say we're together baby, say we're together, oh I need you, I need you forever baby, you and me Remember when you used to hold me, remember when you made me cry You said you loved me, oh, you did, yes you did I love you, say we're together, baby, say we're together, oh I need you, I need you forever, baby, you and me.

Joanna Wang. In My Pocket. Jah Khalib. Out of my head. Jambazi ft.

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