On the album cover Uyên Linh and Dũng Đà Lạt fused into a single entity like El Lissitzky’s 1929 poster “USSR Russische Ausstellung.” In the album Uyên Linh’s voice and Dũng Đà Lạt’s guitar weaved together like a pair of lovebirds.
With an entire record penned by Dũng Đà Lạt (five out the seven tracks are specifically for Uyên Linh), the two make Ước Sao Ta Chưa Gặp Nhau for themselves and no one else. The title track kicks off with just Uyên Linh’s voice accompanied by Dũng Đà Lạt’s picking guitar to give the sense of intimacy: “Em, đưa tôi đến xa xôi bình yên / Nơi tôi đã sống bao tháng ngày yêu dấu.”
“Ước Muốn Tàn Phai” continues with the dead-slow tempo expressing their love-hate relationship. “Trông Tình” brings the vide up a notch with a funk arrangement. The bass guitar combined with the electric keyboard is hypnotizing. “Ngày Mưa” returns to the simple guitar accompaniment, but “Như Cánh Hoa Đêm” switches up the tempo with Dũng Đà Lạt’s savory obstinato dancing around Uyên Linh’s vocals. The last two tracks, “Tình Lại Đến Như Vừa Bắt Đầu” and “Nơi Cuối Chân Trời,” are arranged and accompanied by Hoài Sa.
Because Dũng Đà Lạt and Uyên Linh have crafted an album for themselves, they have no interest in bringing their stories to you. You have to come to them and the album might take some time to get into or might not at all. Furthermore, Uyên Linh’s style is more of a traditional pop singer. She has a big voice, but barely gets out of her comfort zone. Then again she doesn’t need to for this up close and personal record.