Releases » Music Services Asia

Interview: Silverbus (TW)

Oct 142011

Where much of the South-East Asian indie music scene is dominated by guitar-driven pop riffs, looping vocals and weird amalgamations of indefinable noises, it is refreshing to encounter a band whose sound relies on more than simply blasting listeners off the backs of their chairs. Silverbus, hailing from Taiwan and dabbling in every style from rock and acoustic, to moody, progressive guitar-jams, hits the proverbial nail of slow-burning rock on the head with their latest album Orange, the tracks from which quietly envelop the listener in a series of progressive harmonies and cinematic, mood-affecting beats. Such cohesive artistry is sought after by many and possessed by few, and Silverbus (who performed tracks from Orange at FujiRock Festival 2011 in Japan) shed some light on how it feels to hold the key so something so rare.

How would you describe your sound?
It’s kind of hard to describe it by ourselves, but I think in our first album Orange, we were trying to build up the songs like movie scenes; to make an emotional movement between the tracks. We used a lot of delay and reverb on the guitar-work to achieve that goal – we wanted to keep everything sounding more ‘vintage’ than modern.

Do you think this emphasis on slower, more instrumental performances sets you apart from others in the South-East Asian indie music scene?
We don’t think about it in that way. We’re just trying to express ourselves, both in our instrumental work and through singing songs.

What musical elements do you take from your background and how much of your music is influenced by international bands and projects?
We like to listen to all kinds of music, including many Taiwanese artists and international bands. We think that a song becomes influential when it describes itself well, and has a strong relation to where it belongs. So we’re trying to understand that process of every song, and make it happen in ours.

Who are some of the bands you met at FujiRock Festival, and how did this performing experience compare with some previous gigs?
We met Wilco and Mogwai, who are both huge influences on us… The experience was absolutely great! It felt so good to play in amongst the mountains, and loved watching other performances in the mountains, too. The vibe was amazing – the audience was there for music, and nothing else. Thanks to our record company for getting us there in the first place!

What is one song, written by someone else, that you wish you’d written yourselves?
Across the Universe by The Beatles.

What do you think Silverbus can bring to the SEA Absolute Indie Compilation that others bands cannot?
I think every band can bring something different to the SEA Absolute Indie Compilation that anyone else can’t, I guess we just want everyone to enjoy it!

Listen to Silverbus on the SEA Absolute Indie Compilation album, due for release on iTunes next Tuesday, 18th of October. The teaser is here and the band’s MySpace is here!

By Stephanie Winkler

SEA Absolute Indie Compilation: the teaser playlist!

Releases

Oct 142011

Answer the question on Music Services Asia Facebook page and win a free d/l of the SEA Absolute Indie Compilation!

Interview: The White Eyes (TW)

Releases

Oct 132011

Like fashion, musical trends also go in and out of popularity. In the 90’s, it was all about commercial pop, Nirvana and the occasional boy band. The 80’s gave us synthesizers and bad hair. The 70’s however, spawned the birth of punk and gritty, high-charged, low-fi rock – and this is where The White Eyes draw their limitless reams of inspiration. The resurgence in distorted guitar, fierce, looping vocals and short, sharp songs about sex, rebellion, happiness, anger and passion, has been a feat nobly attempted by many bands in the South-East Asian music scene; however, the electricity naturally possessed by The White Eyes is impossible to cultivate, and they will be unleashing their furious, well-crafted artistry on the SEA Absolute Indie Compilation in late 2011.

Your Facebook page describes your genre as “grunge, punk and other dirty, psychedelic musical elements,” among various other things– What is it about your sound that is so identifiable to so many people?
We simply want to express a “dirty” feel, and make some noise!

Are there a lot of different personalities and musical backgrounds in the group?
Gao Xiao Gao is the vocalist and guitarist, and she is our main songwriter. Johnny Fan is our bassist; the two of us are the main band members of the band for the time being. Cent is guitarist now, and our drummer Mei Mei is leaving us for a long trip to Siberia.

Describe your performance at Summer Sonic Festival in Japan. Was this one of the bigger performances of your career?
Yes, this was one of the biggest performances of our career, but we have performed to bigger crowds before. Our performance was okay – but the guitar effects did f**k us up. However, the Japanese audiences were great!

What can people expect from a typical White Eyes gig?
A totally unexpected, crazy performance!

What qualities can you bring to the SEA Absolute Indie Compilation that other bands cannot?
We are the only White Eyes in this world.

What is one song, written by another artist, that you wish you had written yourself?
Escape Velocity by The Chemical Brothers

What are the plans in the near future – where can people see you performing?
We are working on a new EP right now, and it will be released in a low-fi Cassette Tape format only. We think this is playful and the songs will be much different. Please stay tuned for further news.

White Eyes’ MySpace is here.

The band features SEA Absolute Indie compilation, release date: October 18, 2011 worldwide.

By Stephanie Winkler

Interview: SORE (ID)

Releases

Oct 122011

A video interview for SEA Absolute Indie compilation (release date: October 18, 2011) by Dimas Wisnuwardono.

Interview: The Cambodian Space Project (KH)

Releases

Oct 112011

If you happen to be in a state where you can picture yourself doing a psychedelic moonwalk through the fabric of time, clutching a bunch of 60’s rock records in one hand and a glitter bomb in the other, then you will likely have some idea of what it is to listen to the Cambodian Space Project. Hailing from various backgrounds across the Europe, Cambodia and Australia, the Cambodian Space Projects’ recent stint of shows across the UK, Indonesia and South-East Asia have formed a perfect introduction to the bands’ involvement in the UpToTheSky Festival by Figure8 Agency; a revolutionary sound experience that will showcase the best new indie talent from the Asia Pacific Region. Julien Poulsen, a founding member and band manager of the Cambodian Space Project, imparted some wisdom and gave us his thoughts in the lead-up to the festival, as well as their part in the SEA Absolute Indie Compilation album due for release later on October 18th, 2011.

The Cambodian Space Project

Your music seems to defy the constraints of one genre, with your web page calling the sound everything from Space Rock to Khmer Surin. But, if you had to pick one, what would it be?
Quite simply, Cambodian Rock!

What is the process in blending traditional 1960’s psychedelica with Cambodian infused vocals and instrumentals?
There is no real process – it just happens naturally. That’s why we like it!

You’re all from vastly different backgrounds, both culturally and musically – how did you all meet?
We all met through living and working in Phnom Penh, Cambodia. We’re all from different backgrounds and cultures, which could have been problematic; instead, we all mixed perfectly, which added to the band’s personality. The band formed quickly after the first show with just myself and Srey Thy. We started playing as a band on Christmas Day, 2009.

You were recently booked for a run of shows in the United Kingdom. Do you find that Western audiences relate differently to your music, as opposed to Cambodian audiences?
We’re still trying to get there, so we will know more once we do! The British Embassy in Bangkok has denied visas for our Cambodian members, and we’re appealing the decision at the moment. Adding to our case will be the bookings at major festivals, BBC recording sessions and expanding our international fan-base.

How important is it that Cambodian Space Project’s management stays internal? Is there a reason why you have chosen not to outsource?
When we formed there was not much to manage; it was pretty easy to figure out loading equipment into a tuk tuk and getting to a gig. We always found it very easy to hire a bus and go on tour around the Cambodian countryside, which is how we really got started. Nowadays things are busier, and managing all our gigs and tour-dates is a full-time job in itself. I’d love someone else to do it so I could spend more time on creative stuff, but it’s not a priority right now. We’ve got a six-month tour ahead of us and a new album to promote, and another to mix and release in 2012. So for now, things will stay as they are!

What is one song, written by someone else, that you wish you had written yourselves?
Well it’s not one song, but all the songs by this artist that I love. Today, in a uniquely Cambodian Space Project context, it would have to be Paint It Black by The Rolling Stones!

What do you feel the Cambodian Space Project can bring to the UpToTheSky Festival, which other bands from the region could not?
It sounds like a good initiative, and we’re happy to be on board! At the moment we’re not sure exactly what to expect – we just need to set the co-ordinates to get the Cambodian Space Project flying.

The Cambodian Space Project’s MySpace is here and UpToTheSky Festival blog is here.

By Stephanie Winkler

Interview: The Universal Moment (JP/TW)

Releases

Oct 062011

Japanese alt-rockers the Universal Moment are a rising force on the local and international scene; comprised from well-travelled, American-raised brothers Yu and Sebastian, along with drummer and keyboardist Shihori and Shigeo, the group have surrendered their surnames and enjoyed increasing success since the release of their first record, “The Reminder” in 2009. After growing through a series of transitions stemming from Sebastian and Yu’s time as a duo (evolving, over the course of several years, into the current line-up), the Universal Moment have slowly but surely become one of the most alluring musical acts on the Asia-Pacific music scene.

Do the personalities of the band members in The Universal Moment reflect the style of music you create?
Sebastian: Definitely. There are two people working together, and there are two unique personalities. Our personalities completely reflect the style of music we create. In terms of personality, Yu was more of a punk kid. Well, he didn’t necessarily dress up like one. He had died his hair red when he was in high school…but he just had the punk kid attitude. Yu was quite reserved, but he had this rebellious attitude all the time. This sounds almost like that James Dean movie, “Rebel Without a Cause”, but I say that Yu had a cause. It was just hard to grasp. I was a reserved kid who liked to listen to and compose music. Music always had two aspects in my head: the sound and the theme. In my head, music was always related to love and appreciation rather than hatred and anger, so that kind of explains what kind of person I am. Yu believed in fighting back and never giving in, and his music was always related to those themes. Two different personalities and perspectives give something special to The Universal Moment’s music, for sure.

What does each member bring to the dynamic of the band; creatively, musically and personally?
Sebastian: I always thought as a kid, because I grew up abroad, whatever I experienced through my life was something rare; not a lot of people go through what Yu and myself did as kids. I always felt this some sort of responsibility to write these things down somewhere so that the people can see them, and understand what I was going through. From falling in love as a kid to tasting the air of Toronto in the winter-time at the age of 16 right after moving out from hot and humid Houston, Texas – everything was happening so dramatically to me. I just had to write music and show the appreciation. On the other hand, Yu was somebody who didn’t write these things down; he was always suffering from the sort of experiences that he had to go through and trying to find out where he was, whom he was and what he was. I think our two completely different perspectives; ideas and attitudes are carefully combined in this band’s concepts and music. I honestly think this band has this depth of two people who have gone through so much in life, and from very early stages.

How did you all meet?
Yu: We are brothers. So, when I realized, he was already there. (Laughs)
Sebastian: Yes. Though, this is something I need to also mention. I’m Sebastian when I’m in The Universal Moment. I dress up and put make up on. And, I do that to be as neutral as possible. To stay away from me whom people always misjudge. I am not comfortable on stage, unless I am in character. But, back to the question: As for the drummer, we basically put an advertisement on an Internet site, and went from there. We never thought we’d get so many people, but we were fortunate enough to get a lot of guys coming in. Shigeo, was one of them. He is a really good drummer, and he understood the concept the fastest. He was the perfect guy. As for the keyboardist, Shihori, our manager found her at a live show. It’s kind of interesting because we totally suck at getting to know new people and get along with them. There was this great chemistry from the beginning. She has the similar background to ours, and she understood the concepts of the band. So, she was the perfect person. Having a very intelligent and artistic keyboardist like herself in the band was great; she’s classically trained, which helps!

What is one song, written by someone else, that you wish you’d written yourselves?
Yu: I think every song I like is like that. I tried to write songs so that my songs become like that for somebody else.
Sebastian: Picking one is probably impossible. Maybe Symphony No. 9 by Beethoven. It’s a masterpiece. We play what we play because we are living in a modern time. The Universal Moment is what we think is lacking in the contemporary world. I think of the same things with other artists. If I listen to Beethoven’s Symphony No. 9, I can only imagine how it was like back then, when things were dramatically changing, and how it was like to write a piece about it living in that time.

Best and worst performing experiences?
Sebastian: The worst experience happened in a bar in Toronto where the sound engineer was reading a book throughout the show. It was terrible from the beginning: she asked why we needed so much space on the stage at the sound check. It was a terrible question. It’s almost asking the sound engineer why you need a sound board. We need the space because we need it to perform. It was as simple as that!
Yu: Best is yet to come. I would like to think of it that way. I always think that next one is going to be better. Always. If I have to name one, though, then probably the first serious show we put on at The Opera House in Toronto.
Sebastian: We spent so much so much time preparing for this show. We even made like a small booklet for the sound guy and lighting guy so that they can have a better idea of what kind of music we play and what we need. It was a lot of work, but it was well worth it. They worked very hard for us, and it was an amazing show.

Where do you see yourselves in 2, 5, 10 years time…
Sebastian: In 2-5 years, I would love to be able to tour around the world. In 10 years, I would love to be able to start building a city with lots of artists and craftsmen, where I want to live. This has always been my dream and I will make it happen. A city that has a completely different governmental system, that is governed by a capitalistic, democratic government that we have now. A city for artists and craftsmen. A city runs on a complete different basis, where real art is produced, and no one will be worrying about feeding themselves or buying their instruments.

How do you feel you differ from the other acts featured in the SEA Absolute Indie Compilation?
Sebastian: This is SEA Absolute Indie compilation, but we don’t necessarily come from South-East Asia. We didn’t grow up in South-East Asia, but certainly we have the roots here. So, in terms of cultural background we share lots of similarities with other artists from the region. At the same time, because we grew up outside South-East Asia, there are a lot of different aspects and perspectives added to our music. That’s how we differ.

Catch The Universal Moment on the South-East Asia Absolute Indie Compilation, due for iTunes release on the 18th of October 2011.

By Stephanie Winkler

Interview: The Dorques (PH)

Releases

Sep 302011

How do you define ‘cool?’ It’s not a question that is often asked, but it is one that should surely have an answer. By definition, being in band is cool. Music, generally, can be cool too. But, how do you define the sound of a band that, by definition, are the antithesis of anything to do with coolness at all? Ask The Dorques, who, while they avoid clichés of “coolness” like it’s the plague, aren’t nearly as dorky as they make themselves out to be. The bass-driven, infectiously catchy glitch-core that the Phillipines rock outfit produces quickly jumps to their defense, elevating them beyond their status as a walking social faux pas, and into the creative melting pot that is The Dorques – in inspired collaboration that has the Asia Pacific music scene begging for more.

Explain the concept behind the band name, ‘The Dorques.’ Were there ever any other names you considered for the group?
Aimee: We wanted to sound cool, but uncool at the same time. We came up with ‘Dorks,’ but we decided to change the spelling to make it look a bit different. Other names were thrown around like C**t wagon and Family Banned, but obviously The Dorques won!

What elements do you take from Manilla/South East Asian music scene, and what elements do you take from international groups and projects?
Nina: We listen to everything. Joff is a DJ so he likes indie and hip-hop bands; Arnel listens to everything from new-wave to punk. Aimee’s a DJ as well; she’s more into electronica and rock. I listen to pop, jazz, and I like hip-hop too. There’s a huge musical diversity, and everyone lends an open ear when it comes to music.
Aimee: We sound like a lot of international acts more than local ones. I personally take a lot of inspiration from local drummers, the way they make their beats and syncopations.

What can the Dorques bring to the UpToTheSky Festival that other bands cannot?
Aimee: A sparkling and cheeky blend of hardcore and easy listening music that, frankly, is all about sex.
Nina: The Dorques doesn’t only produce happy music, we as a band tend to give that vibe as well. Us, and our music, are a bundle – a package of pure ecstacy, with happy, overwhelming energy that other bands struggle to show. We don’t play music because we need to. We play because it makes us happy. And I believe that’s how music should be. It should feed that thirst you’ve been dying for.

Describe your ultimate gig. Who would support you, and where would you be?
Aimee: Wembley, Royal Albert Hall, SXSW, Glastonbury, Reading festivals. All the British festivals! Supporting acts would be Puya, Pantera and Slayer. I’d like to meet them. That would be awesome.
Nina: Dream gig would be in the Philippines with Ogie Alcasid. I want him to sing a rendition of our version of Waltzing Away.

What are some of your more notable achievements, both individually and as a band?
Aimee: Apparently, I can play drums. That’s a pretty awesome achievement. Oh, and I can tie my shoelaces all by myself.

The weirdest thing to ever happen at a show…
Aimee: People turning up.
Nina: We were performing in about 2009 at a show in Hanoi, and Joff and I were dancing like there’s no tomorrow – then Arnel unplugs his bass cord and starts using it as a jump rope while some guy in the crowd, literally dripping with sweat, struggled to dance along with Aimee’s insane drum solo. Hilarious.

Name a song written by someone else, that you wish you’d written yourself?
Aimee: Every song on Revolver by the Beatles or “Learning Curve” by DJ Rap, anything by Adele or Florence and the Machine, “The Message” by Grand Master Flash, Blondie’s “Heart of Glass” or “Rapture,” and Beethoven’s Symphony No. 5 to name a few.
Nina: “Shake it off” by Mariah Carey! I bet I could’ve made a better version – with a twinge of indie-ness, of course.

The Dorques feature SEA Absolute Indie compilation (release date: Oct. 18, 2011) and will play live in Singapore on Dec. 3 at UpToTheSky Festival, stay tuned!

By Stephanie Winkler

Interview: Zebra and Snake (FI)

Releases

Sep 282011

If you’ve been to any awkward job interviews, practiced any Shamanic rituals or seen a therapist lately, there’s a chance that you have been asked the question:
“If you could be an animal, what would you be?”

While this may not be the most relevant starting point for a band interview, you have to keep in mind the origin of Zebra and Snake; the electric, euphoric drum-and-bass inspired Finnish duo who will be gracing the stages of the UpToTheSky Festival in December, 2011. After surviving a grey patch and reassessing their approach, Tapio and Matti have been steadily occupying the world stage with delicious aural delights, harnessing their ‘Power Animals’ as their namesake; Zebras representing individuality and balance, and Snakes symbolizing rebirth, eternity and mystery – the very qualities dripping from Zebra and Snake’s addictively venomous beats.

How were you guys discovered for the UpToTheSky Festival, and what do you think you can bring to the stage that other bands cannot?
I guess we were spotted for this gig when we played in Tokyo in October, 2011. It was a gig to remember; first of all, the view from the club was unbelievable, as it was on the 52nd floor of a skyscraper! Maybe the view inspired us to pull off such a great gig. Right after the show, there was a Halloween party at the club. It was insane. I’ll never forget those outfits…

Your music falls into a very unique genre – is it more appreciated by fans in Finland, or overseas?
I don’t really know! Hopefully our music reaches everybody someday.

Describe your genre in three words…If you can!
Healing synth pop!

Where did you two meet, and how did the band come about?
Matti and I grew up in Alajärvi, a small, nice city. But we didn’t hang out at all when were kids. After I had moved to Helsinki, Matti came to see an Antony and the Johnsons gig, and he needed a place to stay. I thought, if you like Antony’s music, you can’t be bad as a person. So, we became friends. We both are really just small town dudes. Relaxed, easygoing, and we both like good people; yet, we’re curious, we want to see the world, we want to be everywhere, we want to make an impact!

How did you get involved with Moby’s label in the lead up to your next release?
Our music was introduced to the label by Andy McClusky, the guy from this great band called OMD. He was at our gig in Oslo, at the Bylarm Festival, so it all started from there. Warm memories from that gig, I have.

Will the UpToTheSky Festival be your first major overseas festival? Where has been your favourite place to perform?
We’ve already had some larger gigs before this one; some in Europe, a few in the States and some in Asia as well. When we started this band, we promised to retire after our first gig abroad. Obviously, we didn’t. You get greedy, when you like it as much as we do! It’s hard to name a favourite place; everywhere has somewhere nice to memorise – nice loud crowd or view from a skyscraper for example.

What is one song, written by someone else, that you wish you’d written yourselves?
I wish I had written many songs. Like Purple Rain by Prince or Amazing Grace or Blue Monday by New Order. And of course the whole back catalogue of Bruce Springsteen.

Any parting words for international fans who will see you at UpToTheSky Festival?
Come, come, come! Let us dance, let us heal!

Check out Zebra and Snake’s Myspace and Tumblr.

By Stephanie Winkler

Interview: L’Alphalpha (ID)

Releases

Sep 272011

A video interview for SEA Absolute Indie compilation (release date: Oct. 18, 2011) by Dimas Wisnuwardono.

Interview: Little Fox (TH)

Releases

Sep 152011

For many a decade, tourists and locals alike have explored every inch of natural and unnatural wonders of Thailand – and, who could blame them? The tyre-beaten roads and well-snorkeled waters of the country’s top spots still continue to draw crowds – which, while it is a testament to the country’s ongoing allure, leads many to the sad realization that all of Thailand’s biggest secrets have long since been discovered. All but a few, that is.

Introducing Gene Mahasmut, aka. Little Fox. Born and bred in Thailand, with various stints in the UK as a student, musician, actor and composer, Little Fox has intricately crafted his unique blend of Thai-Folk/Acoustic-Pop through years of playing with sound, exploring the globe and pairing down his creativity to an inimitable streak of quiet genius. Little Fox is arguably one of Thailand’s best-kept secrets, with credits such as acting in, and composing the score for the European art-house film ‘Citizen Dog,’ a string of former band performances…and even a brief stint as a Buddhist monk in the far reaches of Northern Thailand.

Little Fox

Describe your move from playing in bands, to composing music for Citizen Dog, to going solo in ‘Little Fox’. Has it been a smooth transition?
It was like floating down a shallow river, with bumpy rocks underneath. Essentially, I have no control over my destination, which can sometimes be fun – and sometimes not!

Do you get similar satisfaction from acting as playing music? Are you able to adequately express yourself across both mediums?
It depends on the occasion. Some jobs are more fun than others, and this applies to both music and acting. Some jobs you just have to “do.” I can express myself across all the mediums I work within!

Do you see a difference between the folk scenes of Thailand, as compared to Britain? Which do you prefer?
I see the concept of “scenes” as being the same as a current, like that of the ocean. If a trend passes through Britain first, it will pass Thailand shortly after and vice versa. I don’t discriminate between the two scenes – I love all music. I just don’t like when music discriminates against certain people.

Of the many instruments you play, which is your favourite?
I’m not a multi instrumentalist by any means, as there are many instruments that I cannot play well! On the other hand though, I like to think that anything that makes a sound can be used as an instrument. Besides this, though, I think that the best instrument is your mood and imagination.

What are the main themes present in your music?
Melancholy-happy-funny-sad-beautiful-trippy-peaceful-rock? The theme changes from time to time. Once, I made some sort of grunge-metal-Indian song…I like to keep people guessing. I was thinking Opera-rap could be my next step!

Imagine you had to lose either your voice or your hearing. Which one do you sacrifice, and why?
My voice. I can still enjoy listening, and I can make noise in other ways! You can’t sing if you lose your hearing – so, by losing my hearing, I’d be losing both regardless. It’d be hard to be deaf. I might be shouting at someone when I think I’m whispering.

Do you have a favorite gigging experience?
Not so much “gigging,” but I like to sing for my cats and my dog.

Where do you see yourself in 5 years?
On a small farm near the ocean, surrounded by horses and elephants – I love them. I’d ride one to the local 7 Eleven.

Catch Little Fox performing in Singapore and Jakarta for the UpToTheSky Festival, 3, 4, 5 December 2011. For more information, visit www.figure8-agency.com.

Little Fox Myspace is here: www.myspace.com/littlefoxmusic

By Stephanie Winkler