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Jun Kung, Daniel Wu, and Prodip Leung on Playback Is A Bitch

Upon returning home to Hong Kong from the Drummer’s Collective in New York City, ace musician Jun Kung began his career as a rock musician. Despite winning the 2000 Hong Kong Commercial Radio Music Award for New Artist, Jun was quickly disillusioned by the local music industry. Instead, he became the most demanded drummer in Canto-pop and went on to collaborate with the likes of Jacky Cheung, Eason Chan, and Faye Wong. It wasn’t until 2010 that he returned to making his own music with Jun K, released on his friend Daniel Wu’s Revolution label. Upon the release of its hard-rocking follow-up, Playback is a Bitch, I got in touch with the Hong Kong-born and Macau-raised artist and asked him...

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Terence Yin on Transparent, Dan The Automator, and the state of Cantopop

Hong Kong movie freaks know that Terence Yin has acted for some of Asia’s coolest directors, including Yonfan, Takashi Miike, and Johnnie To. But he’s also a singer, and his new Transparent EP features world-class production by Dan The Automator. A serious follow-up to the The Heavenly Kings mockumentary (which Yin co-produced with his friends, co-stars, and boyband imposters Daniel Wu, Conroy Chan, and Andrew Lin to skewer Hong Kong’s celebrity-driven, cookie-cutter pop music industry), the seven songs have dark lyrics, complex arrangements, and serious beats—not to mention hints of dark wave, dub, and even Britpop. Although I hadn’t talked to the philosophy major from Berkeley in years, I had to reach out find out how this cool project, which...

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