The Star Online: Entertainment: Music
The Star Online: Entertainment: Music |
| Posted: 22 May 2011 11:55 PM PDT The Rainforest World Music Festival has grown from an obscure event to one that is generating ample interest and income. This year's edition could be an even bigger draw for various reasons. Ever since Womad Singapore slipped into cold storage three years ago this month, there has been a gap to be plugged in South-East Asia's world music circuit. Womad (World of Music, Arts and Dance festival), which was founded principally by British musician Peter Gabriel, pioneered the globalisation of music. Since its 1982 debut in England, Womad branched out around the world to spread its gospel. In the Asia Pacific region, Australia (Adelaide) has been hosting Womadelaide since 1992 while New Zealand's Taranaki Arts Festival Trust has been in partnership with Womad since 2003. As Womad Singapore's sabbatical – which was supposed to have ended last year – continues, the region is starved of a rich serving of the premier world music festival. Intrepid music fans here often turn to the jazz festivals in Thailand and Indonesia but for those who have savoured the idiosyncratic experience of Womad, these substitutes merely appease and not completely answer the yearning. There are not many world class festivals in Asia that offer the planet's most invigorating "alternative" artistes and an electrifying outdoors party ambience. In its current issue, the prominent bi-monthly British trade journal Songlines listed only three festivals in Asia as worthy of mention in their top 25 list of the best international festivals. The Ulsan World Music Festival (South Korea) and India's Jodhpur RIFF (Rajasthan International Folk Festival) are notable entries. Gaining recognition The third is the Rainforest World Music Festival in Santubong (a 45-minute drive from Kuching) in Sarawak. The upcoming edition at the Sarawak Cultural Village, between July 8 and 10, has quietly moved into its 14th year and is possibly the closest match to Womad Singapore. While it may be short on the high wattage line-up that the latter had made its calling card until its last few years, the Rainforest Festival supplies a precious platform for international music alongside local cultural identity that Kuala Lumpur or any other city in the Peninsular could only aspire to rival. Has the Rainforest Festival come of age with such significant global acclaim? "I think the festival is almost there. For me the top 25 (in Songlines) is good but I think we could be in the top five festivals with not too much work. We certainly have all the parts, we just need some more adjusting to get it there," said Randy Raine-Reusch, the artistic director of the Rainforest World Music Festival in an interview last week. Undoubtedly, the Rainforest Music Festival has taken considerable dents to its reputation. In view of its beginning in 1998, the outstanding acts to have graced it – for those who know their tango from their mambo – are probably few and far between. Highly acclaimed acts are hard to come by – with the exception of the Tuvan throat singers Huun Huur Tu and the fiery roots-driven Tarika from Madagascar – and the arena has been clogged with budget acts and cunningly disguised "star" attractions. Attracting the masses Yet, there is certainly a greater charm than low-cost amber beverages that has fuelled the longevity of the festival. At the turn of this decade, the Rainforest Festival survived a bid from Womad to remodel it under their brand and went on a remarkable expansion itself. It is estimated that the festival pulls in a current average of 30,000 people (over three days), which is a massive climb from the 400 people who had turned up for it in its first two years. An even more impressive statistic was revealed in January: according to Sarawak's then Deputy Chief Minister Tan Sri George Chan, the upcoming festival is to contribute an estimated RM20mil for the domestic tourism industry. If this figure is achieved, it registers an increase of RM7mil on last year's earnings on the back of aggressive promotions spearheaded by the Sarawak Tourism Board (STB) in Singapore, Brunei, Australia and Hong Kong. The scope of the campaign too, it was reported, was to be expanded to include Europe to swell the previous foreign concertgoer share of 40% to 70% and the aim is likely to be secured. STB's confidence has also been fired up by online ticket sales: all 1,000 special packages that were released last October were snapped up while limited discounted tickets introduced in March were also fully taken up by bargain hunters. The bottomline and rebranding exercises have arguably become the focus of the festival in the local media. Many serial festival-goers have voiced out disatisfaction over the gradual commercialisation of the Rainforest Festival (including ticket price increases in recent editions). In the 2002 edition, a three-day pass was RM70 while this year the same three-day pass is RM300. Has the holistic approach to the festival (the music first policy, free-spirited crowd, friendly atmosphere, green awareness) of the early years been overtaken by the slick marketing machinery, rowdy crowds and inebriated tourists? "To be honest to have the good happy fun loving festival, you need a hot marketing team, so hopefully this will be a happy marriage. But rest assured, if it doesn't work, we will fix it. The atmosphere of the fest will only change for the better, and we are actively working on moving the festival in a direction that will allow the old family friendly programming to grow while still allowing for the young night-time crowds. As we get wiser the fest will get better, so if you have not been, you are missing something amazing," added Raine-Reusch. Credible line-up As far as an amazing line-up is concerned, the upcoming Rainforest Festival can boast several highlights. There is the rare added incentive of catching two first-liners in the same festival this year. Paris-based DuOud and Poland's Warsaw Village Band are major draws since they are still top of their game in the fusion music genre. Jean-Pierre Smadja and Mehdi Haddab, the Tunisian and Algerian that make up DuOud, are accomplished oud (North African and Middle Eastern lute) players broadly credited for rebooting the ancient instrument for modern times. The duo's Wild Serenade album is essentially an exchange of ideas between tradition and technology with their North African roots distinct despite the jazz influences and break beats. DuOud's debut earned a nomination at the BBC Radio 3 Awards for World Music 2003 and the duo's experiments have continued with Ping Kong, which released two years ago. Similar to DuOud, the Warsaw Village Band pays homage to Polish folk music while widening the genre with the infusion of electronica and hip hop elements. The sextet has evolved to include such varied performers as deejays and rock bassists, following the breakthrough Uplifting and sequel Upmixing which hoisted the band as the Best Newcomer in the BBC Radio 3 Awards for World Music 2003. "I have made a concerted effort in the last three years to raise the level of the groups coming to the festival. The challenge is often not money but to convince a group in a busy touring season to take a week or more out of their time to travel to Sarawak. Once they do they kick themselves for not taking two or three weeks, as they realise that Sarawak is one of those magical places on earth that is hard to describe, but once you are there you know its special. Word has gotten out and more and more famous groups are wanting to come," revealed Raine-Reusch. This year's festival features 20 international acts across three days of evening performances and daytime workshops. Among the notables joining DuOud and Warsaw Village Band are Kissmet (India/England), Pacific Curls (New Zealand), Mamak Khadem (Iran), The Blue Canyon Boys and Lisa Haley & The Zydekats (both the United States), Frigg (Finland), Hanggai (China), Paddy Keenan Trio (Ireland), Kenge Kenge (Kenya) and our very own Agungbeat. Pre-festival activities and related events have been planned to boost the festival's profile in the coming weeks. >Daily tickets for the Rainforest Music Festival at Sarawak Cultural Village in Santubong from July 8-10 are priced at RM110 per adult and RM55 per child (aged three to 12) and a three-day pass costs RM300 and RM150 for adults and children respectively. For fest line-up and more details: www.rainforestmusic-borneo.com. For tickets: www.ticketcharge.com.my or call 03-9222 8811. Full Feed Generated by Get Full RSS, sponsored by USA Best Price. |
| Posted: 22 May 2011 11:03 PM PDT Bittersweet may have taken some tentative steps since its debut, but Ipoh's favourite indie sons are putting the pedal to the metal with its second album Empire's Transition. NOT everything is what it appears to be. Just when it seemed the future couldn't have possibly looked rosier, Ipoh's brightest indie hope Bittersweet was dealt with the cruel blow of losing more than half its band. The proverbial "musical differences" and "moving on to other pursuits" loomed large as the death knell sounded for the sextet, but the boys with the new wave duds and Beatles-eque ambitions were not to be outdone by the flippant attitude of some of its personnel, even though head honcho/guitarist Herri and keyboardist Emai were the last two left standing. From the time the band began to comb the indie landscape with its tightly woven pop nuggets, inspired no doubt by the likes of The Fab Four and The Verve, all of six odd years ago, Bittersweet was a genuine title contender for the accolade of the freshest sounding act in a while. The boys had the looks, the style and the substance – necessary ingredients in a scene that appreciates these essentials in equal parts. With the unceremonious departures of vocalist Pijie, guitarist Hafiez and bassist Dinie, the likes of Fizan, Moon and Tiger have come in to fill the void. Evolution, as Jeff Goldblum said in Jurassic Park, will find a way. But moving on was never going to be easy, yet, the boys from the nga choi kai (bean sprouts chicken) capital of the nation have even managed a sophomore album in the process, and Empire's Transition stands tall as the vanguard of perseverance. "Phew!" Herri begins to attempt to answer how the band got back on its feet again, with the short response saying so much in so little. "It was tough, and it's especially so when you lose your frontman. People knew Pijie as the lead vocalist and frontman," he conceded, admitting that the frontman is always the vocal point of a band. Naturally, the lack of monetary returns disillusioned some of the band's members. "Seeing as we didn't really get the returns we were hoping for since we released our debut Perfect Match in 2006, some of the guys just felt that this wasn't worth their while," Herri admitted during an interview and a round of roti bakar with the band in Petaling Jaya, Selangor recently. Contrary to the usual rock n' roll legend, finding the replacements wasn't as arduous a task as expected – in fact many of them were already operating in the same circle. "I've known Fizan since 2006. I'd seen him with his then band Dance To The Radio, and he looked like a natural fit, seeing as we also share common influences. Emai and Moon (formerly of The Times) have known each other since their school days and Tiger was from our jamming scene," Herri explained. The Bittersweet story actually began in the early 2000s when Herri hooked up with original singer Zabil, sharing a love for all things The Beatles and The Stone Roses. That combo never saw the light of day, though. But in 2008, the band announced its arrival for the big time when its tune Capital E, off its debut, was featured in the hit movie KAMI: The Movie. A series of successful shows followed, spreading the gospel of Bittersweet further before the band hit the skids. The current line up of Bittersweet has gelled together like epoxy, so much so, the boys describe their relationship between each other as "more than just bandmates." Singer Fizan offered: "We're now like brothers," as the others nodded in agreement, beaming from ear to ear. "It's important to have chemistry in and out of the band," he insisted. The band's latest contribution to the indie scene, Empire's Transition, is quintessential Bittersweet. It's a sonic mish mash of everything that's come to define the band – jangly guitars, melodic, angular, reverb-drenched riffs, atonal vocals, all underpinned by a wash of synthy pastures. Bittersweet hasn't opened any new vistas of musical expression or exploration – it's more of the same, but in a very good way. There is a harder, rockier edge, and of course, the glaring difference is Fizan (who keeps the pseudo-British accent in check) on vocals. If AC/DC could make the same album more than a dozen times, so can Bittersweet. After all, why fix it if it ain't broke. Tunes like Ceritera, Burn It Down, Knights Of The Round Table, 1234 (the first single off the album) and Midnight Tripping exhibit the band at its melodic best. While the band professes its beat influences of the 1960s, there's a hint of new wave a la The Cars and even Liverpudlian throwbacks The Coral. Of course, the band's MO of writing love songs is retained, but the perspectives have matured somewhat. "Yes, they are love-driven, but they are drawn from life experiences ... ours and others, too. We spend time observing what's around us ... lyrics, after all, are stories," Fizan suggested. The album suffered from a long gestation period, simply because its embryonic stage still had the now-departed members on board. "We had the shell for some of the songs but we also redid some things from scratch," said Herri, revealing that the band worked between two studios in Petaling Jaya – Big A and 101 Studios. Despite its indie lineage, Bittersweet isn't one of those bands that's often seen at some of the more high profile indie shows – yes, the ones with the usual suspects again and again. Herri concedes that is also due to the fact that the band may have priced itself out of the scene, simply because, he and the boys know what their worth. "We do more corporate shows these days and that has been sustaining us." The health of the music scene is open to debate – ask the bands that aren't doing well and they'll insist that there simply aren't enough gig opportunities. Ask the successful bands how they've managed and they'll retort that they've simply worked harder than the rest. "The problem is, sometimes, there just isn't enough appreciation for what some bands are doing. Worse still, organisers are only interested in making a buck. It doesn't help either that after a gig, some bands think they've become rock stars," offered Tiger. Herri also feels that the music scene has taken a few steps back because of a few perceived social ills. "It all started falling apart with the whole Black Metal fiasco. Kids have become scared to go to gigs and consequently, organisers have become discouraged with the poor turnout." Tiger thinks there's a simple solution to this woeful situation and if the government plays a part, things could be that much better. "It's like how skaters are given platforms to ply their trade, musicians need avenues, too. If there is a system in place, there shouldn't be any problems. They (the government) should give the younger generation a chance since they are the future," pleaded the bass player. Bittersweet may have won a slew of accolades on local radio over the past few years for its debut, but the band is taking nothing for granted. "The video for 1234 is already out and we'll be plugging it on Hitz.tv ... MTV even, hopefully. We're just going to take whatever opportunity comes our way," informed Herri. The band's nationwide tour kicks off in September and should see them visiting every major city in Malaysia. "We'll be going to Johor Baru, Seremban, Penang, Ipoh, Kuantan, Kuching and Kota Kinabalu, too," Fizan shared. And with a spanking new album in tow (released under the band's Ipoh-based label History Records), it would come as no surprise if the indie crowd once again falls under the spell of the boys from Ipoh. So, will they be travelling with their suit racks, then? The boys crack up as Herri set the record straight; "No, it'll be just suitcases this time, but with more than a few pairs of shoes," he said with a twinkle in his eyes. > Empire's Transition is available at Rock Corner and Speedy stores in the Klang Valley. For online purchases, check out facebook.com/bittersweetband. Catch Bittersweet at the A|X Loves Japan Charity Tee Fundraiser on May 28 at Pavilion, Kuala Lumpur, at 3pm to get a free autographed A|X Love Japan Tee Shirt purchased on the day, or take a picture with the band and donate a token to A|X Loves Japan Fund box. Full Feed Generated by Get Full RSS, sponsored by USA Best Price. |
| Posted: 22 May 2011 11:01 PM PDT American Idol Lee DeWyze is happy to make music on his own terms. Growing up, I listened to a lot of lyricists and songwriters," said Lee DeWyze. "Namely, Cat Stevens, Simon and Garfunkel, Kris Kristofferson, Beatles, John Lennon, Leonard Cohen, a lot of different writers and it got me kinda hooked when I was younger because I used to listen to lyrics and go like 'Aw, that's so cool!' I love lyrics and they're kinda important to me so I'm definitely influenced one way or another." DeWyze, 25, was speaking at a recent roundtable interview held in Kuala Lumpur.He arrived in town last Monday from Jakarta for his promo tour which led him to make his way to cozy Subang Parade in Selangor where he performed a few songs from his album together with a cover of the classic Hallelujah by Leonard Cohen. Almost a year since being crowned the winner of American Idol (season nine), this is the first time Lee DeWyze has touched Asian soil which included performing in Manila and Jakarta. Asked to explain how his journey has been since winning American Idol, Lee has this to say: "I can't put it into words. One day you're working a job you don't like while you try to do music on the side, then you go through the process of American Idol which is its own little lifetime, then you come out the other end, and now I'm in different parts of the world, performing. And it's a good feeling and I love music. So the fact that I'm getting to do it as a career, it's a great feeling." He also knew how to dodge loaded questions when asked if he would like to have the current judges of American Idol instead. "Well, I won. So not really. It worked out well for me in my season. They would've been great to have as judges, but I was fine with mine." As far as career pressure is concerned, DeWyze seems to also be handling pop life well. There is always the intimidating issue of being compared to other Idols, but the Illinois-born musician isn't fazed by such things. "I think the people who make those kind of comparisons don't really listen to music and are only fans of the show. It's one thing to sit down and watch American Idol and write about it, but it's another thing if you like music and listen to it. "I mean, my music is my music, my career is my career. So, the common bond (between Carrie Underwood, David Cook, Kris Allen, Kelly Clarkson and Taylor Hicks) is that we all won American Idol. It's almost as if sometimes people love you when you're on the show but when you're done, they just wanna get to the next season and watch the next contestants. It's not intimidating for me at all because I love the fans and I think they're great and if it wasn't for them, I wouldn't be where I'm at. The success of other people coming from the show really doesn't mean anything to me at all." Ultimately, he has to be his own voice and keep his career momentum going despite what the critics think. "It's not really up to me. I'm gonna go up and play my songs and perform and write. I can't make other people look at me any other way than the way I am," replied DeWyze when asked if he had plans to make people perceive him as Lee DeWyze the musician rather than Lee DeWyze the American Idol. "And that goes for everything ... whether it's voting for American Idol or rating of the albums. To look at it in a negative light is ridiculous. "It's funny how people ask if I'm upset that people relate me to American Idol. I mean, I joined the thing and I won, so no, I'm not. For me, it's what you do after the show and how hard you work and I don't think your success is gauged by anything other than how hard you work. "I mean, I work hard and regardless of the state of other things, I don't let people comparing this or that bother me. I'm not on the show anymore, I'm playing music." Having written 10 out of 11 of songs on his Live It Up album, the singer expressed that it worked out well for him as far as creative freedom is concerned. DeWyze also said that he is satisfied with the direction of growth his music is going. "I'm definitely more into acoustic stuff, I love the rock, folky type vibe and that's what I'm always gonna go with. But who knows? You're gonna meet people in the studio that you've never met before who might come up with something really great." Live It Up as his mainstream debut, released last November, has received mixed reviews. But DeWyze stands by the recording. "What I wanted to do is to make an album that is honest. An album that I can relate to because all the songs really do reflect a part of my life or something I've experienced so when I was writing and performing it, I knew I just wanted to keep it real. A lot of it is about relationships and things like that because I think that's a huge part of life. I mean, if you took out all relationships in your life, then you'd have nothing left." Above all, DeWyze definitely needed a competitive edge to win American Idol. But has his perspective changed since then? "It's like the same thing almost, you go up against different people and you wanna beat them in the show, but I guess in the music industry I don't wanna beat anybody, at least no one specifically," said DeWyze about the difference between the level of competition in American Idol and the music industry as a whole. > Lee DeWyze's Live It Up is released by Sony Music. Full Feed Generated by Get Full RSS, sponsored by USA Best Price. |
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