Jay Chou's Mandopop star ascended quickly, but the classical chops that brought him to the attention of record magnate Jacky Wu get to shine on his sixth album. Having studied music since he was four years old, the eventual King of Mandopop grew to have an immense admiration for the work of Polish composer and pianist Frédéric Chopin, whose compositions for solo piano are among the most storied works ever written for the instrument. November’s Chopin establishes Chou not only as a fan of the 19th-century legend but as an artist whose ambition is equal to that of his hero. November's Chopin opens with “夜曲 (Nocturne)”—its chorus name-checks the master of the nocturne for whom the album is named, while its downcast R&B and somber lyrics about a loved one who has passed turn it into a 21st-century update of the song form, which is meant to commemorate long, dark evenings. That track also sets a brooding tone for the rest of the album, which is full of what-ifs and never-wases— “髮如雪 (Hair Like Snow),” which uses pipa and yangqin to give its ’90s-style soul balladry a Jay Chou touch, vibrates with longing as Chou sings of his past regrets, while the smoldering “楓 (Maple Leaf)” uses the cycle of a tree’s life to reflect on the way people recover from heartbreak. By the time November’s Chopin was released in the fall of 2005, Chou was one of Mandopop’s leading stars—and on “四面楚歌 (Surrounded),” he takes direct aim at the increased attention he received from the press during his ascent. The combination of an insistent synth line, constant camera-shutter sounds, and forceful strings adds a sense of claustrophobia to the music, underscoring the message Chou is sending out to his tormentors. But November’s Chopin shows why Chou was such an attractive target for the paparazzi—even when he’s singing about disappointment and rueing the mistakes he has made, his unexpected artistic choices and gently firm voice make his music absolutely compelling.