12A (Special Edition) (CD+DVD) DVD Region All

Like most bands, Zarahn consists of a bunch of dopey guys, and in this case, one of them happens to be Endy Chow. Since his debut three years ago, Endy Chow has not exactly hit it big, but he has made a name for himself as a rockish singer-songwriter. In addition to composing music and lyrics, he also arranges, produces, and dabbles in album design. After three fairly well-received albums, his music is still developing and his live singing continues to be inconsistent, but the talent, sincerity, and individual style is undeniably there. It is not difficult to spot out an Endy Chow-composed song. Last year, the young artist took home the top Singer-Songwriter award at the CR2 903 Music Awards (generally, the most well-regarded musically of the four major Hong Kong award shows). A bit of an anomaly by Hong Kong entertainment standards, Endy Chow was already married and a father when he made his solo debut. Not a very fruitful paparazzi target, he rarely shows up in the gossip pages and has a funny habit of talking about music and family during interviews. Is it really possible to survive in the Hong Kong entertainment industry this way?

This year the 26-year-old singer made an even more blatantly uncommercial decision that is at once mystifying and appreciated: he returned to his band. Many artists leave groups to go solo, but few take the opposite route. There have been Chinese artists who formed bands after finding fame, such as Paul Wong (HANN with Jun Kung and Soler's Dino) and Taiwanese rockers Wu Bai (China Blue) and A-yue Chang (Free Night), but Zarahn's case is a bit different. The album title, 12A, other than being a play on Hong Kong's exam system, also refers to the band's 12 years together, a journey that started when the bandmates were students in New Zealand. Endy's past albums have actually all included the other Zarahn members, be it in composing, arranging, or live performances. But this time Endy put down his solo artist identity and returned to Zarahn, letting the band, music, and friendship come to the forefront. And that is perhaps an even greater rarity than a Cantonese rock album.

12A plays like an Endy Chow album with more edge and volume. From this release, it is clear how much the band has influenced his musical direction, and vice versa. Much of his strengths, weaknesses, and quirks are carried over to and from the band. Those who like Endy's albums should be happy with 12A. With all the members contributing to the composing and bassist Joey E-pui sharing vocal duties, this album offers a fuller sound and more experimental elements than Endy's solo efforts.

Zarahn particularly shines in the first three tracks Jump, School of Rock, and Crazy Love. Catchy and energetic, Jump and Crazy Love show the fun pop rock irreverence of the young band and strike the right balance with the programming and arrangement (which they overstylize in some of the other tracks); the music video of Crazy Love included on the DVD is absolutely hilarious. The softer School of Rock, with lyrics penned by Wyman Wong, gives voice to the band members' sentiments about returning to their musical roots (the band especially traveled back to New Zealand to record this album) and re-learning how to rock. The bittersweet lyrics about going to the wrong classroom and forgetting to be hot-blooded hint that perhaps the last few years have not been smooth sailing for the band.

One of 12A's more rewarding revelations is Joey E-pui who contributed the most compositions and delves into more alternative sounds. The carnivalesque instrumental track too much porno make me sick (Track 8) has a simple, throbbing beat and an oddly addictive repeating line. As far as I am concerned, any song that makes me want to chant "too much porno make me sick" must be golden. maybe (Track 9) channels a bit of early Radiohead with muffled drawling vocals, crescendo drumming, melodic guitar hooks, and oddly deep lyrics ("Maybe in the end of the world/We can find you next to a lollipop").

The three Endy-composed tracks are all at the end and run an interesting range. Save Me is markedly different from his previous solo songs. From the dense guitars and pacing to the vocal style and lyrical abstractness, Save Me (Track 10) almost seems a bit Paul Wong, suggesting that Endy has a wider repertoire to offer in the future. The balladic Cherub (Track 11) is more reflective of Endy's previous style and provides a welcome mellow-down point, while the busy amalgam that is Blue Ice Cream (Track 12) pumps all the ups and downs of the album into one final go.