![[Album Review] Khalil Fong 方大同 – The Dreamer 夢想家](https://asianpopweekly.com/wp-content/uploads/2025/07/image-592x540.png)
| Album Information |
| Album Name: The Dreamer 夢想家 |
| Release Date: 18th October 2024 |
| Music Video Archive |
| 沒啥好說 Nothing To Say XZMHXDXH 那沙漠裡的水 Oasis |
Album Review
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By Jocelle Koh
In preparation for writing this review, I listened to Khalil Fong 方大同’s tenth and final LP “The Dreamer 夢想家” countless times. Backwards, forwards, allowing it to accompany me on many long walks, commutes, and in different cities on my various travels. Trying to separate my partialness for Khalil’s entire body of work and the emotions I feel over his passing from the art at hand. Because I know that’s what he would want, more than anything.
But this proved particularly difficult, as the album hangs in the perfect balance between Fong’s physical limitations and his lifelong passion for music. Upon first listen, the album’s stripped down production seems in theory a world away from Fong’s previous works, which in his later years saw him dabbling heavily with R&B synths, hip hop beats, electric guitars and grungy basslines.
Yet upon closer inspection, it is an unmistakably “Khalil” album; sprinkled through with whispers of all his past sonic identities. From his charming, unassuming melodies, to his love for lame jokes and distilling life’s big lessons, it’s all there. But what makes “The Dreamer” most undeniably Khalil is the inescapable, voracious sense of rhythmic and sonic exploration that underpins the entire journey.
An organic coalescing of Fong’s hopes and dreams, akin to sketches in a sketchbook, this was an album written mostly in Khalil’s head due to the physical limitations of his illness. Here, Fong promised no answers, but allowed his imagination to run free; intermingling Jazzy/ bluesy/soulful rhythms with unique, never-before-explored textures, samples and genre-bending combinations whilst using only the most accessible of instruments. The result was these ten tracks, which provide us rare insight into one of Mandopop’s most brilliant minds in his most untampered state.
It was clear from listening to this album that this project was a treasured mode of escape and labour of love for Fong, with the topic of play centering itself on many songs on the record. The first track ‘XZMHXDXH’ finally puts Khalil’s lifetime love for hip hop front and centre and does away with traditional song structures completely. Fusing a hip hop beat constructed from Jazzy keys, horns and percussion with one humorous, nonsensical catchphrase “鞋子沒壞 鞋帶先壞 Shoes aren’t broken/Strap just broke first” sung-whispered in Shanghainese dialect, this is clearly Soulboy’s idea of fun. I can’t help but think there could be some influence from Megan Thee Stallion and Yuki Chiba’s runaway hit “Mamushi” here; given the possibly intentional phonetic similarities of the one phrase Khalil sings throughout to Japanese, and the unique instrumentation on both tracks.
Born in Hawaii but having lived in Hong Kong, Shanghai and Dali across his life, East-meets-West fusions are strongly embedded in Fong’s DNA. While he has on many past occasions set new standards for cultural fusions (on his last Golden Melody Award-winning album ‘JTW’), this time he breaks new ground on songs such as “In Jianghu 江湖中人” and “Who Knows What Love Is 誰知愛是什麼”
“In Jianghu 江湖中人” combines Fong’s love for lame dad jokes and storytelling with a blend of blues and hip hop; using the Chinese folk art form Shulaibao (數來寶) a style of spoken word poetry to tell the tale of a mysterious stranger and the misunderstandings that arise from his presence in a tavern. Fong skilfully intertwines spoken word with melodic verses through an ingenious arrangement featuring a steady dissonant bass beat peppered with distorted strings with an eastern twang and bells to liven up the story. The chorus features an R&B syncopated melody replete with three part harmony in classic Khalil tongue twister style; bringing to the forefront the artist’s dorky sense of humour in this freeing sonic cultural dialogue masterclass.
While on track six “Who Knows What Love Is 誰知愛是什麼”, Fong finally gives us the lush R&B-meets-Chinese wind (中國風) ballad we knew was always in him; snugly fitting a pentatonic scale melody up against soulful chord progressions as he ponders the fluid nature of love in a way only he can. Understated and elegant, the simplicity of the arrangement and how well everything fit together in this languid, afternoon nap-able track reflects a foolproof sense of creative intuition that could only come from Khalil himself.
Continuing to toe the line between his personal sense of humour and the album’s theme of escapism, Fong takes on the meta role of both storyteller and narrator on mysterious-but-not track ‘GF’. Here, Khalil recounts the storyline of classic movie “The Godfather” in a stream-of-consciousness way against a backdrop of tentative strings and operatic arrangements. Switching between spoken word poetry in the verses and sung choruses, Fong takes us into this swirling meta universe where we are taken in and out of the atmosphere of the movie with extravagant violins and operatic elements which tug on our heartstrings just as I presume the movie itself would.
“Tango” on the other hand, whisks both Khalil and listeners to a lavish ballroom where time and space only exists within the iconic tango beat. Inspired by the movie ‘Scent of a Woman’, Fong takes us down the rabbit hole with him as he reports his findings from his research of the Tango genre in this one-in-a-million fusion. Perhaps Fong’s only published brush with overt classical influences, the track experiments with deconstructing the form replete with rubato and syncopation before reconstructing it with R&B influence in the melody, and a jazzy, improvisational twist.
The fifth track on the album “Twenty Three 才二十三” is the only song on the album which directly contemplates the existential nature of life and death; providing an intentional moment of deep introspection at the album’s halfway point. Written in response to his father’s passing (and perhaps a reminder of all of our mortality), there are no bells and whistles on this one, just Fong’s heartfelt, intimate reflections on the passing of time and acknowledgement of the challenges that ageing may bring. Nevertheless comforting and positive in his unique way, ,the track starts off slightly sombre, with only an acoustic guitar before adding in light keys and steady percussion; perhaps a necessary reminder from Khalil that since we must move forward no matter what, we might as well enjoy the ride. For many fans, “Twenty Three” also provides comfort in its posthumous message, practical yet reassuring in typical Fong fashion: “Even a thousand miles away I’ll still exist 在千尋之外 我依然存在“.
Track seven “Not A Farmer 我不是農人” seems to continue Fong’s thread of nonsensical humor against weird and wonderful musical fusions. Here, he brings us close as he would any friend, telling in low, conversational tones about false rumours spreading on the internet of him retiring and becoming a farmer. Here he gels blues instrumentation with melodic rap, replete with an R&B slow jam spoken interlude and a reggae-reverb applied to him singing ‘organic veggies are good for you’ at the end. One of the weirdest but most exciting musical frankensteins of the album, this song is yet another reflection of Fong’s unbridled creativity unleashed.
While the eighth track on this album “Oasis 那沙漠裡的水” is simply constructed in comparison with many of the other tracks on the album, it has somehow turned out to be one of my favourites. Fong has always had a soft spot for 90’s R&B artists such as D’Angelo, and this song truly feels a natural homage to that. Starting the arrangement dry and empty before gradually adding in whispers of fluid electric keys and movement, it simply but effectively achieves the intended impact; emulating an oasis in the desert. While the lyrics are sweet and coy, sung in Khalil’s comforting low tones, there is a sense of lucidness here. An ebbing in and out of consciousness which lingers long after the song ends, which has made this a melody that visits me in my dreams often.
Track nine “Returning 回留” is another fan favourite for its sombre, balladic nature, and remains the only track on this album with lyrics penned by someone other than Khalil. With lyrics written by Luke “Skywalker” Tsui, Khalil’s longtime collaborator, the song is simply arranged, yet full of musty, heady atmosphere, like an attic of memories. Recorded on a beautiful vintage grand piano in his family’s house in Dali, it is a raw and unfiltered work full of pensiveness and introspection in its most delicate state.
And while “Returning 回留” for most is said to be the most emotional track on this album, for me the real tearjerker is the album’s closing track “Nothing To Say 沒啥好說”, and my personal favourite (as well as Khalil’s). As there’s nothing more heartbreaking than a conversation with a loved one that can never be revived. Like many of Khalil’s songs, “Nothing To Say” seems exceedingly simple – fashioned with just a guitar, drums and vocals. But the heartbeat of this track lies in the melody, which is tethered between feigned casualness and a rhythmic complexity which keeps you coming back for more. Here Khalil’s melody feels like a constant push and pull, conveying a sense of deep regret and conflicting emotions. Throughout the song, the melody also often lands on offbeats, requiring a significant musicality and technique from the vocalist to achieve that perfect balance of laidback-ness and bittersweet regret which Khalil pulled off with aplomb. There is a somewhat unfinished quality to the song that I also love. For decades Fong has achieved polish in so many of his works. Somehow, it feels right, and almost comforting to end the album feeling like there are still some things which have yet to be said.
“Oh my love, I could want you to stay/But the truth’s telling me/That there’s nothing here left to say”
“The Dreamer” is a boundary-pushing album that seems to leave more questions than it does answers. Particularly given the circumstances that surrounded its release and reception, and how Khalil’s physical limitations have inevitably shaped the album, it has given cause to reevaluate my preconceived notions towards what defines great artistry. Khalil’s own physical limitations aside, “The Dreamer” is a groundbreaking body of work. For it redefines and raises the ceiling for what makes responsible, beautiful and meaningful art.
The album makes use of every essence of Fong’s knowledge over two decades of experience, from his capacity as a vocalist, sessionist, arranger, producer and songwriter to acknowledge and also surpass his limitations. Here he manipulates time and space with his most trusted tools to create works that align with his experiences, while bringing hope and room for imagination to listeners. This is something that only artists of the greatest caliber could even hope to achieve.
“The Dreamer” is a masterclass in artistic integrity and a masterpiece in execution. A blue moon occurrence that comes from deep introspection and awareness of their physical, spiritual and creative situation, combined with a voracious sense of curiosity, and continued thirst for what experiences the world has to offer. Even in his darkest days, Khalil has continued to maintain a sense of responsibility that is embedded deep within his soul.
Fong has, time and again proven himself to be a singular contributor to the world of contemporary music, who brings light and innovation to all who are willing to listen. This album is bittersweet, but only if you let it be. A true celebration of all Khalil stood for and held close to him, it is not a farewell, but a message to all of us to fare well, and keep dreaming, no matter where we go.
Missing Khalil as much as we are? ‘The Dreamer’ is now available in CD and Vinyl format on Taobao. Officially available for Hong Kong and Taiwanese audiences with access to Taobao, but it worked for us to order to Singapore too! Get your copy and support Khalil’s legacy here: https://item.taobao.com/item.htm?ft=t&id=896243318554&skuId=5855498769523
Album Track List
| 1. XZMHXDXH |
| 2. 江湖中人 In Jianghu |
| 3. GF |
| 4. Tango |
| 5. 才二十三 Twenty Three |
| 6. 誰知愛是什麼 Who Knows What Love Is |
| 7. 我不是農人 Not a Farmer |
| 8. 那沙漠裡的水 Oasis |
| 9. 回留 Returning |
| 10. 沒啥好說 Nothing to Say |
