1st April to 5th April 2013 | Yellowbox Studios, 1 Ubi View, Focus One, #01-19, Singapore.
SGMUSO are presenting four Singapore bands, the fantastic opportunity to record with the legendary producer Steve Lillywhite. Lillywhite will select from submissions, three bands with SGMUSO selecting one other band, to join him on Monday 1st April to record LIVE. From this recording session, Lillywhite will critique and select one band from these four, to spend the rest of the week to further record material whilst the other three bands will be able to observe some of the following 4 days of recording. There will be other potential opportunities announced for these bands at a public event called SOUNDcheck (details to follow).
Joining Lillywhite for this Production Week will be three Singapore producers who will be mentored by Lillywhite, with these producers being matched with the remaining three bands to come back to Yellowbox Studios at a later date to mentor and record one track each. These recordings will be further critiqued after completed via a video call with Lillywhite, the Singapore producer and band members present.
Bands submit by sending one song, one picture, one-page bio and a paragraph on why they should be recorded by Lillywhite Friday 15th March and closure will be end of Friday 22nd March
The Production Fee for the selected bands, is subsidised from S$6,000 by e2i, SGMUSO, WDA and Yellowbox Studios and will be $500 per band who are members of SGMUSO (the subsidy is for Singaporeans/Permanent Residents only).
This production week will give the selected Singapore bands, a chance to be around one of the top international producers in the world and help them develop their music craft. The producers present will also gain greater skills in production through the mentorship of Lillywhite. SGMUSO will be documenting throughout and posting via social media throughout the week and follow ups thereafter.
The week-long activities will culminate with a new initiative from SGMUSO called SOUNDcheck. SOUNDcheck is to develop a deeper advocacy of Singapore music by providing an update for key advocates such as media, promoters, venues, labels and other music companies. Details on SOUNDcheck to follow.
What is the latest update for EMO FASCISM, my first solo album? Well, at the moment we have final mixes for about 70% of the songs and the album should be ready by the time, I perform with The Groovy People at Artistry on July 31st. That’s the plan, anyways.
But I am getting ahead of myself. April 26th at Home Club will be the first appearance of the ALL-NEW, ALL-DIFFERENT, GROOVY PEOPLE and I am glad to announce the line-up –
PATRICK CHNG (lead guitar), RAY AZIZ (drums), NELSON TAN (bass) and BENJAMIN ANG (keyboards).
All amazing ARTISTS in their own right, I am blessed by their contributions and so far the rehearsals have been great fun! I intend to play as many gigs in support of EMO FASCISM when it is released in August 2013 and I really would appreciate all your support for this endeavor.
At the end of the day, the continuation of The Long and Winding Road of being a musician is really about fulfilling my dreams but I am also mindful of the great people who are along for the ride. So stay tuned for more information as it becomes available.
“NEW YEAR, NEW PLACES, NEW FACES TO MAKE BABIES WITH”
I may secretly – unknowingly even to self – be a punk rock music fan – just a little bit, admittedly.
Originally, I had my reservations. Openly, I am not a fan of All Time Low, and long had I moved on from the mainstream, ready-made radio-friendly formulae. The concert venue added some additional icing on the cake – the last concert-going experience spent at The Coliseum, Hard Rock Hotel was for Nelly Furtado, and waiting two hours in line for a show to start could have very well tested my patience to a whole new all-time low (pun shamelessly and completely intended). I should’ve and would continue to stay the night with my guard let down, thankfully.
First thing one notices when listening to Natalie Hiong‘s new EP is the sound production — a marked improvement from her debut EP certainly. This time around, everything one hears seems more organic and more ‘human’, and it’s much easier to get into the songs itself. Natalie has also improved in the vocal department and extended her range of singing styles as well. No longer relying on the cutesy little girl vibe of her debut EP, one senses that this is a chanteuse now coming into her own.
Treading on partially wet grounds for my first concert-going experience at the west side of Singapore, The Star Performing Arts Centre served as a blooming fresh outlet for events of sorts. Despite the grandeur of the new environs, it was let down somewhat by the spectacle of snaking (really year of the snake, isn’t it?) queue lines at the ticketing counter .
Judging by the response at the Esplanade Concert Hall on Tuesday night, Ellie Goulding’s first performance in Singapore was an undisputed success.
The full house consisted of a good mix of young tweens and older hipsters, who eagerly lapped up her every word and note. Even Goulding herself repeatedly remarked at her awe and surprise with the number of people at her first show here.
Starting off the night with songs mainly from her recently released sophomore album, Halcyon, such as “Figure 8” and “My Blood”, Ellie Goulding blew us away from the very start with her beautiful voice. It was amazing to hear the entire audience sing along to the chorus of “Guns and Horses”. However, it took some time for the sound engineer to get the mixing right, as it was difficult to hear her voice over her backing track in the beginning.
Also, it appeared that she took a while to adjust to the stage, only moving around to interact with the inviting audience after taking awhile to get used to the venue.
Goulding was not fazed for too long though, and one of the most memorable segments of the concert was when she slowed things down with tracks like “I Know You Care” (she admitted it was about her father) and “Joy”. The audience was also in for a special treat as she sang a wonderful cover of Elton John’s “Your Song”.
Picking things back up with harder hitting songs “Only You” and “Salt Skin”, Goulding gamely danced in her sheer dress through these songs, eliciting more cheers from her fans. During other parts of the show, she also treated the audience to performances of “Hanging On” and “I Need Your Love”, which she wrote with Tinie Tempah and Calvin Harris respectively.
Most of all, it was impressive to see how she took her music to a whole new level with her live show. Her music sounded so much bigger, expansive, richer and complex live than on her studio albums. Moreover, her live energy was explosive, even reminiscent of Hayley Williams (of Paramore fame).
All in all, Eliie Goulding had great charm and clearly enjoyed performing, and her infectious energy in turn made it especially fun and enjoyable for all present. With “Lights” as her final euphoric song, she left everyone without a doubt that she could just very well be the reigning queen of the current crop of synth rock songstresses.
Thanks to Dan Gordon (Now/Live) for making this review possible.
Nothing quite compares to a British pop band trading in the fine legacy of Britpop and being able to make the connections between The Kinks and Blur and beyond. Instant Species has been around since 1997 and according to its official site, “we’ve made music we love, played gigs to entertain people and released records with an enormous sense of pride. It’s more than a hobby but it’s far from a career and it’s always fun. We don’t have a “plan” or “bid to be” anything other than 4 blokes playing some music we hope is half decent.”
More than “half-decent” I’d say — This Rome… is the quartet’s new album (#8) and it is chock full of catchy tunes, spiky rhythms and an edgy pop smart attitude. It’s clear from songs like the languid “Rise of the Idiot”, the bouncy “Simple Repetition”, the chirpy title track and the garage-y “I Need A Little Help” that the band writes and records the kind of music it loves without any thought about trends. Essential for fans of classic British pop music.
No frills melodic rock n’ roll is the only item on the Hot Nun agenda and why the hell not? With a bio that declares that rock is not dead, Jeff Shelton (guitars, vocals, bass) and Braden McGraw (drums) keep things simple and straightforward on this eponymous debut. With eight songs that celebrate “The Spirit of ’76”, the album is aimed directly at classic rock n roll lovers and fans of Cheap Trick, KISS, T. Rex and Glam-era Bowie. Rollicking numbers like “Who Do You Love” and “Fight Fight Fight” will get adrenaline pumping easy enough. No denying the sheer power of this uncanny album, with the faithful rendition of Bowie’s “Queen Bitch” the perfect touchstone of what Hot Nun is all about.
It is a good time to be involved in the S-ROCK scene. Interest in the scene is definitely growing as the media gives it attention it properly deserves. More releases, more gigs, more open mikes, more bands, more venues…more, more, more! In the last two weeks, I managed to witness two launches – first, by Another Sunday Afternoon and last Friday, by Obedient Wives Club. These bands are very different in terms of musical approach and execution but share the same passion, talent and ability to touch and thrill true-blue music lovers. Also worth considering – the fledging outfits that opened viz Victoria Street and Rocketswan, interestingly enough, both female-fronted! Exciting times, indeed.
Six years in the making, the sophomore effort of The Great Spy Experiment arrives with the band a completely different entity to what it was when I first met Saiful, Fandy, Song, Khai and Mag in the rehearsals for Singapore Day in 2007. Interim period has seen marriages, children and daily challenges with the ubiquitous work-life balance. Factor in the creative musical need of recording artists and things no doubt become complicated.
Dare is the first track to be made public from the Emo Fascism recording sessions which took place mainly in September last year at Patrick Chng’s excellent home studio. The album will consist of ten tracks (with two bonus tracks on the CD) and for the most part I wrote, sang, performed and produced the lot with Patrick engineering, mixing and mastering the recording. Only one other musician played on Emo Fascism (Dare to be specific) and I am proud to say that it was none other than Daniel Sassoon.
The French rock n’ roll band known as Fuzzy Vox behaves as if no new music was made after 1969! This myopic vision provides incredible focus as this five-track EP amply demonstrates. The music here is simple yet powerful, straight-forward and visceral. If push came to shove, probably the most accurate reference point would be the first Stooges album. Sure, one could also point to the influences of the mod greats (The Who) and blues-rock legends (The Rolling Stones) but there’s a basic garage-punk energy that suggests Iggy and his band of freaks held greater sway. In the modern context, The Hives come to mind immediately and every other garage-punk revivalist you would care to mention. The scintillating cover of Jerry Lee Lewis’ “Great Balls of Fire” provides a clarity of purpose, translated well on the meaty title track, the beaty “Same Old Story”, the big “I’ll Be Gone” and the bouncy “Hurricane”. Pure & easy.
Listen to “I’d Be Gone” and the rest of the EP at Soundcloud.
First off, let me get something off my chest. The SCAPE Gallery is a horrible avenue for live rock music performance. No two ways about it – the sound was so harsh and unbalanced at the venue that I felt physically nauseous at times. Which is a pity because certainly the four bands that played at this gig deserved a much friendlier platform to showcase their music. But there you go…
Who are Bored Spies? Well, think of the trio (Cherie Ko, Sooyoung Park & Morfin) as some kind of off-the-wall Canadian-Korean-Singaporean musical venture that somehow perfectly falls into contemporary indie rock space circa 2013. Privileged as always to be slightly ahead of the game, I am listening to the debut single from Bored Spies and marveling at the immediacy and intricacy of the music – sweet yet brash, bold yet amiable – full of contrasting hues and yet dead-eyed focused on heart and soul.
Yes, this review of the Other Sounds launch party is a little late. Yes, I had loads of fun with friends and new acquaintances, not to mention the delivery of good good music. What else do you need to know?
Upfront let me just say that congratulations are in order to Other Sounds for hosting a fabulous party. I mean, the food was simply yummy and even though I had dinner before I came, I still managed to polish a couple of burgers and pizza slices. So kudos! And… the free flow alcohol, courtesy of Asahi was much welcomed as well. Is the indie music scene coming of age. Step by step, in the right direction.
To be honest, I never expected to write this review. Up to the point that I received the email from Peipei (LIKES Communications), I had not even heard of Hong Kong/Canadian singer-songwriter Ellen Loo. And when Peipei invited me to catch Ellen’s show at the Esplanade Recital Studio, I was feeling a bit mixed. After all, I am not, by any stretch of the imagination, a fan of Mandarin pop but I thought – “nothing ventured, nothing gained” – and I am so glad that I took the plunge.
Simon Townshend released one of the more intriguing albums of 2012, the under-rated Looking Out, Looking In. We were fortunate and privileged to be able to pose a couple of questions to Townshend via email and we set out his responses below.
As a musician/recording artist, has being the younger brother of Pete Townshend been an advantage or disadvantage and why so?
I think it works both ways. I suppose I have a lot to live up to, especially when some people expect so much of me. Having said that my name has opened a few doors that would have perhaps remained shut. I am really proud of my brother and have always loved his music / lyrics – The Who are one of my all time favourite bands. However, I have many other musical influences and my sound is unique. I think once people realise that the sibling association takes a back seat they will judge me on my own merits. At the end of the day it’s down to me and my music to win music lovers over.