Saigon Soul Revival's 'Chốn Ta Về' Bridges Vietnamese Musical Traditions and Innovation

Saigon Soul Revival (SSR) is back with their third full-length album, “Chốn ta về,” an ambitious and self-assured work that builds upon their decade-long legacy of reviving and reinterpreting the eclectic music of 1960s and 1970s Saigon. While initially gaining recognition for their covers of beloved "nhạc vàng" songs, “Chốn ta về” sees the group confidently wielding a broader range of influences. The album masterfully blends psychedelic rock, soul, funk, blues, ska, and surf rock with Vietnamese rhythms and instruments. Standout tracks like ‘Trúc xinh’ feature the đàn tranh (Vietnamese zither) slithering alongside electric guitar, while ‘Khúc tình yên vui’ incorporates ska and psychedelic rock elements with Chăm musical references. Even on tracks that foreground a single style, SSR's penchant for cross-cultural pollination produces an exhilarating sum of its parts. The reggae instrumental ‘Lý qua dub,’ for example, begins with an extended đàn tranh and đàn bầu duet before giving way to plodding bass and drums. Similarly, the aptly named ‘Chachacha ngây thơ’ interjects Vietnamese into the Cuban 4-4 beat via a chorus with repeated “anh hãy” following the familiar “cha cha cha” refrain and a subtle allusion to ‘Saigon ơi’ in the final trumpet portion. The album leans heavily on original compositions, with the only non-original song being Mộng Long’s ‘Hoạ mi ca,’ which the band puts their own spin on with the help of local virtuoso Đinh Nhật Minh’s sáo trúc (bamboo flute). Vietnam's most prominent jazz saxophonist and jazz club luminary Trần Mạnh Tuấn provides a boisterous solo to ‘Ơ kìa, em ơi!’ These collaborations highlight SSR's deep connection to the surrounding musical cultures, even as they explore their own creative impulses. SSR's music transcends language barriers, allowing listeners to connect with the emotional depth of the songs. For instance, the longing and despair in ‘Độc huyền cầm oán khúc,’ sung from the perspective of a widow reflecting on her children, can be felt through Nguyễn Anh Minh’s vocals and the mournful đàn bầu (monochord), irrespective of lyrical understanding. Conversely, the exuberant determination of ‘Ta về với ta’ is palpable through Minh’s vocal delivery, Nguyễn Khoa Đăng’s enthusiastic keys, and Indy Lavelle’s soaring guitar solo. Moreover, Minh’s laughter to close out ‘Tình điên’ makes the entire situation’s absurd tragedy obvious. Beyond the album, SSR is embarking on a world tour following dates in Vietnam, including a September 19 performance in Saigon. A behind-the-scenes documentary chronicling their journey is also complete and set for release. Physical records feature striking mid-century Vietnamese modernist graphics by Dan Ni and Phương An, influenced by Cubism and local printing techniques. Formed in 2017 to support Jan Hagenkoetter's Saigon Super Sound Vol 1, SSR has played a crucial role in helping young Vietnamese discover forgotten musical histories and fostering cultural connections for foreigners. As Lavelle notes in the documentary, the band discovered their own sound in the process of making “Chốn ta về.” Hagenkoetter believes SSR is now creating music that will inspire future generations within the evolving landscape of global pop. Saigon Soul Revival has earned a score of 84/100 for "Chốn ta về."