Best-selling Canto-pop singer Cass Phang Ling is a personification of goodness. She has an angelic voice, a squeaky clean image and is an active promoter of civic education in Hong Kong. Today, instead of music, Phang wants first to talk about helping the burns victims of the Pat Sin Leng hill fire in February that injured eight and claimed five lives. It is a tragedy the 27-year-old says the territory has already forgotten. 'I feel very frustrated,' says Phang, who visited the remaining four burns victims at the Prince of Wales Hospital recently. 'For two months after the fire, newspapers reported the case every day. Then in the third month, the coverage just stopped as if it had never happened. I feel this is so unfair on the children. 'The burns victims will have to cope with the mental and physical scars for the rest of their lives. 'I know there are more operations to come for them and that will involve a lot of money. 'Their families will also need money as I think some of the victims will not be able to work in the future.' Feeling the need to help the children (some of them so severely burnt they have to learn to walk and speak again), Phang has organised a series of charity concerts next month to raise funds for the victims. The 'theme song' for this exercise, Chun Feng (Spring Breeze), is already recorded and on her latest album Qing Shui (Clear Water), which was produced by Andrew Tuason. 'That is the least I can do,' Phang says. 'Having met the children, I asked my producer to write a song for me so I could say what I wanted to say about the event. 'Since the release of my new album coincides with the promotion of the song, I face a dilemma. 'If I constantly remind people of my new song, it seems like I'm using it as a promotional gimmick for the album,' she says. 'I hope people will not misunderstand my intentions. The reason behind this song is to encourage the victims to face the future and have new hope.' Phang says she does not expect to gain anything from her charity work except 'happiness'. 'I remember that before I was going to visit the burns victims, I thought I would break down and cry,' she says. 'But on the contrary, when I left the hospital I was happy because they were very positive, they were looking forward to starting a new life and full of hope.' On this bright note, Phang turns to her music, which has taken a new direction since her last album, Music Box, which was released a year ago. 'Over the last couple of years, I sang so many emotional and melancholy love songs that my name is associated with this style of singing. It is time for a little change,' she says. 'I don't want to limit myself to a certain image. I want to give listeners variety, so this slight change is to tell people I can sing other songs too. I'm not a sad person at all. 'Also, love songs do not always have to be sad, relationships do not break up all the time, they can have happy endings.' This cheerful change is evident in Qing Shui. As an executive producer for the first time, Phang said she had a greater say in her work than ever before. 'I told the composers what style and mood I wanted the song to be, which instruments I preferred and how a song should be arranged,' she says. 'The production of the album is, therefore, based entirely on my ideas.' Phang believes Hong Kong people have become more tolerant towards change and willing to accept a wider variety of music in recent years. 'I feel the biggest change in the local music industry is that we now have less cover versions and more originals. I also note that people tend to be more tolerant towards different types of music,' she says. 'For instance, Faye Wong Ching-man's Annoyed is an alternative album. People who never listened to this style of music before have bought it because they like Faye Wong. 'Then they begin to like the music and start looking for more alternative albums. Through the artist they learn more about the different styles of sounds and music.' For now, Phang is happy with what she is doing. Her only ambition at the moment is to record an English album for release worldwide. But where? This is the very question that has put the project on hold since Phang began her singing career six years ago. 'An English album, especially by a Chinese girl, has no market in Hong Kong. People here think it is weird,' she says. 'I want to have a proper album produced by professional musicians who know about my voice and write for me. 'I hope this ambition will come true soon. But the problem I'm facing is where to release it.' The two major English language markets - Britain and the United States - are reluctant to accept 'outside' music and it is difficult for a Chinese girl to break into their music markets. 'I have long lined up a producer and song writers for the album, but having discussed this with my record company [EMI], we have yet to solve the market problem,' Phang says. 'In Asia, what usually sells are cover versions but that is not what I want to do. I'll definitely produce an English album. If the present problem is solved, then I'll go ahead with this album next year.' Until then, will she want to collaborate with international artists to give her the necessary exposure? 'I don't think it is necessary to work with international artists because I do what I want to do,' Phang says. 'If I work with well-known artists, the majority of the attention will be given to them, not me. 'I feel my style will be compromised as a result. I want to create my own style.'