The Star Online: Entertainment: Music
The Star Online: Entertainment: Music |
| Posted: 15 Jul 2011 04:26 AM PDT Vanuatu's Leweton Women are helping to splash around the word on a rarely-heard type of music. The closest most of us have come to making music with water is splashing around in the tub or pool. But for the Leweton Women, water itself is an instrument that is coaxed into producing a rarely-heard, hypnotic type of music. Hailing from the remote northern islands of Vanuatu, the group of six women was the most fascinating act at the Rainforest World Music Festival (RWMF) held last weekend at the Sarawak Cultural Village – in fact, one can even go so far as to say their music was the most unusual the festival has ever seen. Cecelia Lolonun, a member of the Leweton Women, explained that water music is unique even in Vanuatu, as it is played only in two islands in the northern part of the archipelago. A tradition that is typically passed on from mother to daughter, Lolonun estimated that there are only about 20 groups of water music players still in existence. The Leweton Women themselves are all members of the same family, and Lolonun, 31, first started learning water music when she was about five years old. With the RWMF being their first time performing outside their country, they were both excited and slightly nervous about showcasing their talents. "We are really happy to come here and show you all what water music is," Lolonun shared with a shy smile. "Most people don't know much about Vanuatu, so we really want to show some of our culture." The result of thousands of years of traditions, water music is created by beating the water with bare hands to produce a wide range of rhythmic sounds. The Leweton Women, clad in traditional garb made from leaves and flowers, stand in waist-high water and beat out perfectly coordinated rhythms. The right hand produces a deep, persistent bass rhythm while the left hand creates beats and notes from splashes and ripples. The result is an extremely intoxicating sound that is both deeply primal and totally fun, not just to listen to but also to watch. It was obvious that visitors to the RWMF were completely amazed by the water music. For obvious reasons, the Leweton Women couldn't perform onstage during the evening concerts, so they presented two 15-minute slots every day in between the afternoon workshops, playing in the lake at the centre of the Cultural Village. Spectators crowded the lakeside to catch the sets, and many were heard asking whether drums were positioned underwater, or a recording was being used, to produce such strong percussive sounds. Water music has its roots in the close relationship the people of Vanuatu have with water, and traces its origins to the simple sounds people made when they did their chores or washed themselves in bodies of water. "Water is a very important part of our daily life. Our ancestors went to the (lakes, rivers or ocean) for housekeeping, gardening, swimming, bathing, fishing and so on. And they would try to make any sounds they could with the water just for fun," Lolunun said. Around 1974, she explained, water music started becoming more formalised, as the players started listening to the sounds of nature around them and incorporating them into the rhythms they produced. By then, the music form had also evolved into a communal ladies' gathering of sorts, with singing and dancing also a part of the activity. Traditionally performed in a circle or half-moon formation, their rhythms are inspired by the many different sounds in bodies of water, such as waterfalls crashing down, dolphins leaping out, fish swimming in rivers, and raindrops plopping into lakes. With pieces like The Sound of Thunder, Big Whale Fish Playing With Small Whale Fish and Waves Breaking on the Reef, their music speaks of a deep cultural connection with the environment. Their performance costumes too, pay homage to their ancient culture and reverence for nature. "Each lady makes her own costume from flowers and leaves that are around the area. For the RWMF, for example, we used the native leaves that were growing around the Cultural Village," said Lolonun, adding that their costumes usually take about an hour to make. Best of all, water music lets the women have a splashing good time. Watching them expertly strike the water, one can't help but notice the huge smiles on their faces – rather than playing music, they truly look like they are just playing. Lolonun admits with a laugh that the sheer fun of water music makes them keep on doing it. "We can play water music all the time, anytime! Whenever we are in a pool or the sea, we can't help ourselves, we just start doing it!" — By Sharmilla Ganesan Related Stories: |
| Posted: 15 Jul 2011 04:26 AM PDT The Rainforest World Music Festival was the place to let your inner flower child dance free. For the three days that you are at the Rainforest World Music Festival (RWMF) in Santubong, Sarawak, it's easy to believe that the hustle and bustle of everyday life has completely faded away. After all, you are tucked away inside the lush rainforest at the base of the towering Mount Santubong, and music – almost every kind you could think of – envelops you wherever you go. What more do you need to let your inner flower child dance free? And dance the festival-goers certainly did as they revelled in the huge array of music that was on offer this year at the festival, and none induced as much frenzy or screaming as bhangra-rock band Kissmet. Marrying the beat-heavy Punjabi folk music with guitar riffs and wails, the British act was the perfect finale for a festival that saw the coming together of the traditional and the cutting edge. Now in its 14th year, the RWMF has become a major draw for Sarawak, evolving from a humble music festival in the rainforest to a full-blown three-day event. Held last weekend at the Sarawak Cultural Village, the 20,000-odd visitors (over three days) to the festival were treated not only to a variety of world music styles, but also a huge range of cultural activites, food and craft stalls. Despite what many perceive as the increasing commercialisation of the festival, however, one aspect remains firmly loyal to its roots: the music. RWMF co-founder and artistic director Randy Raine-Reusch said the aim of the festival was to showcase bands that are taking traditional or folk music forms and bringing it into contemporary times. "Each band performing at the festival was selected for one reason," he added. "That is, they are simply the best at what they do." Featuring 22 acts this time around (including two from Malaysia), RWMF is still undeniably Malaysia's premiere world music event, and was even named one of the 25 best international festivals in the world by the British magazine Songlines. The festival's unique format of coupling the evening concerts with performers' workshops in the afternoons is a winning idea that highlights not just the various acts' music but also the skills, stories and processes behind their music. The acts themselves were as varied as you can get, with everything from zydeco and blugrass to Sufi music and bachata popping up during the evening concerts. One of the most infectious performances had to be by Lisa Haley and the Zydecats of the USA, with their irresistably catchy neo-traditional Cajun zydeco music. Thanks to Haley's incredible energy, powerful fiddling and even more powerful voice, the audience was soon boogeying along to the band's Louisiana-style sounds. Equally energetic was the performance by Kamafei, a south Italian band that plays folk dance music known as pizzica-pizzica, which is built around the frenzied rhythm of the tambourine. Putting their own spin on it, the band blends in reggae, dub, rock, flamenco and hip-hop stylings that add an urban edge, and practically demands that the audience dance. Frigg, a "Nordgrass" (Nordic bluegrass) band from Finland, was another highlight of the festival, with four extremely talented violinists who simply took our breaths away with their flawlessly frenetic fiddling. Combining the homestyle simplicity of bluegrass with classically-trained techniques, it was a performance that was as fun as it was impressive. Talking about fun, the members of the Kenge Kenge Orutu System of Kenya definitely had a rollicking time onstage as they accompanied their traditional Luo music with self-made instruments, strong percussion and rich, lively singing and chants. Their enthusiastic dancing added a cheeky flavour, and really got the crowd moving. Another favourite was Kamerunga from Australia, a Celtic-influenced band that incorporates funk, jazz and reggae with a multitude of instruments, including the mandolin, guitar, saxophone and didgeridoo. Their music spoke of Australia's many influences, from Aboriginal sounds to sea shanties to bush ballads, but with a healthy dose of rock and classical music. One got the feeling, however, that some of the acts would have worked much better in a more intimate setting. Iskwew from Canada, who perform songs in the plains tradition of the North American aboriginals, for example, did not hold the audience's attention in the concerts as much as they did during workshops. Bluegrass band Blue Canyon Boys from the USA, too, would have been much more enjoyable in a music hall-type setting than such a wide open venue. Their skill with their instruments and beautiful harmonies needed a closer audience for full appreciation. Many also felt rather sorry for Malike Pathe Sow and his band, who were shifted from playing on the opening night to just before Kissmet, due to their instruments being misplaced by their flight. Their lyrical and melodious North Senegalese music, while pleasant and perfect for chilling out, didn't quite capture the attention of the crowd that was eagerly waiting to rock out to the next act. The major sour note in this year's RWMF, though, was the uneven sound quality during the concerts, which short-changed some of the performers. Iranian singer Mamak Khadem's performance, for example, was plagued with sound issues and microphone pops, marring an otherwise enchanting set filled with hypnotic Persian poetry, music and percussion. As the RWMF wound to a close, all the bands performing at the festival got together onstage, jamming together to the same beat (quite a challenge considering the number of different instruments!). The stars were out, trees surrounded the stage, and the dark outline of the mountain watched over the proceedings. People were sprawled on the ground listening, or danced to the music in the clearing. Caught up in the moment, even a cynic could look around and think, there was some sort of magic here. Related Stories: |
| Posted: 15 Jul 2011 04:26 AM PDT Independent rock outfit Furniture has reached a far better creative and personal platform with its new album. SO when does a band start worrying about leaving a greater mass of unfinished projects than finished ones? As we all know, the fatigue from practice sessions without an end product is always a frustrating concern for bands in the local music scene. Furniture frontman Ronnie Khoo, 34, pauses for a moment and gathers himself for a suitable response. Where has the Klang Valley-based band been, between its much-heralded debut album Twilight Chases The Sun in 2005 and the recently released They Made Me Out Of Dreams You've Forgotten? "There isn't a specific deadline or schedule here. Albums take time to make. A lot of things happened in the last few years, personally and musically. The time taken to record this new CD, which is mostly a bedroom recording, has worked to the band's advantage … it's truer to what each person expresses creatively, and we're more honest to each other's ways," said Khoo, who acknowledges that the band has become "more communal" with the music. Formed in late 2004, Furniture has emerged as one of the most resilient, if not prolific, local independent bands in this country. The general idea within the band's ranks now is to get more recordings and sessions on tape. "We have weathered the dysfunctional elements and, as Furniture, this has been the most functional we have been in a long time," he added, with a grin. With the mini melodramas in the line-up cut to a minimum, the way forward has been cleared. At his age and career vantage point, Khoo – who is Furniture's main singer-songwriter – has done quite a few interviews and he knows he can also moan about the joyless struggle of being in an independent band. Yet Khoo resists the overtly cynical path. Instead, he says that now the music-making process with Furniture, especially the 12 new tunes on the new album, is a satisfying one. Plus, there are several chapters left to be written. "Hopefully, there's much more to come. But I'm not going to promise another new album so soon. I did that with the last album, and see how long it took us to get back with new material." More new fans and curious types than before have been acquainted with Furniture's music, especially with the new outing given out as a free download in the initial months. A proper CD tucked in a poster art inlay package has been released under Stickylight Records. There seems to be a theme of loss and return on the new album. The relentless albeit melancholic guitar churn – the dependable Furniture noise – is kept in place. But the band has also refined its craft. Tracks like Monuments and All Too Morose Parties reflect the sound of a band hitting its stride while False Start, Penguine and Vacancies are more accessible than previous material. "At the moment, we're really enjoying playing again, especially with the new, louder songs … and strangely enough, we're also figuring out how to play some older material in a better, more effective way. The setlists, which are now far wider, have been surprising us each time we play." The band's recent concert date in Bangkok has also been a boost in upping its regional profile. Furniture's set at the Urbanscapes 2011 festival at Padang Astaka in Petaling Jaya, Selangor, tomorrow is a much-anticipated one. The new album has arguably re-ignited the band's spirit while the enviable ease and assured poise of the live shows promises much for the future. Stability has also been the key to the band finding its way back to the recording process. Apart from Khoo, the band also includes long-standing creative partner/bassist Adrian Yap, 34, keyboardist Alia Ali, 26, trumpet player Aziz Ali, 34, drummer Syarir Aizad (Alang), 28, and guitarist Johan Fariz Tan, 26. "The way we did this album was also different – it's mostly the sound of a band playing and singing together. Coaxing everybody to step up to the microphone was a big challenge, but we eventually got the vocal layers on the album. It's like another instrument for the band now," said Yap. Drummer Alang, who is one of the busiest musicians in the independent scene, offers a steady and robust backbone while Aziz is the curve ball factor with his unpredictability. Not to be forgotten is Alia, who has truly come into her own with her extended vocal duties on the new album, including sharing vocal turns with Khoo on the pop-savvy Lagu Chenta (Impenetrably Yours). "Personally, I like the new songs and how they mix well with the old material. For us, it's a chance to create a solid setlist that provides a sense of continuity for Furniture," added Yap, who maintains a sleeves-rolled-up approach when it comes to recording, marketing and rocking the Furniture bandwagon. The bassist takes immense pride in seeing the simple sonic sketches, demos and offcuts over the years finally fleshed out into a comprehensive album. Perhaps best of all are glimpses of smiles and playfulness on stage, pushing away the rock miserablism and revealing Furniture as a genuinely likeable prospect. Maybe Furniture's return was delayed by the small matter of day jobs getting in the way, bandmates starting to drop off, or the growing up process. But Khoo exudes a certain bittersweetness borne of maturity. "The first album reflected the mood of a band coming out of college and not having steady jobs. There is less pessimism now, a different mood, maybe the younger members in the band have given the older ones more enthusiasm," he added. "It's a good sign when you look forward to Tuesday nights for jam sessions and rehearsals with the band – it's fun again." Despite Khoo's signature deadpan, you can sense that there is optimism to burn here. More details on Furniture at facebook.com/furnitureband. The band's album They Made Me Out Of Dreams You've Forgotten is available at Rock Corner outlets and most good record stores. Catch the band's set at 6pm at Urbanscapes 2011, which happens tomorrow at Padang Astaka, Lorong Utara Kecil, Seksyen 52, Petaling Jaya, Selangor. For details, visit urbanscapes.com.my. Full Feed Generated by Get Full RSS, sponsored by USA Best Price. |
| You are subscribed to email updates from The Star Online: Entertainment: Music To stop receiving these emails, you may unsubscribe now. | Email delivery powered by Google |
| Google Inc., 20 West Kinzie, Chicago IL USA 60610 | |
0 ulasan:
Catat Ulasan