brainwashed

  • Increase font size
  • Default font size
  • Decrease font size

"The Sound of Siam: Leftfield Luk Thung, Jazz and Molam from Thailand 1964-1975"

As anyone who picked up Siamese Soul or Electric Cambodia last year will probably attest, there was some absolutely amazing music being made in Southeast Asia in the '60s and '70s, so I was pretty thrilled when I heard Soundway was throwing their hat in the Thai pop ring.  As expected, The Sound of Siam is a pretty spectacular album, expertly balancing soulful, funky greatness with exuberant, kitschy fun and unearthing some incredibly obscure artists in the process.

Soundway

Soundway Records Presents the Sound of Siam - Leftfield Luk Thung, Jazz and Molam from Thailand 1964 - 1975 - Various Artists

The Sound of Siam is the first Soundway collection to involve curator Chris Menist, who has previously done some work for Soul Jazz and compiled a very interesting sounding collection of weird Pakistani film music for Finders Keepers.  Menist is an English percussionist/music journalist currently living in Bangkok, which makes him one of few people uniquely suited for this endeavor.  Nevertheless, assembling a compilation of decades-old Thai music would be a Herculean undertaking for anyone–even without a language barrier–and one that requires complete immersion, patience, and a hell of a lot of crate-digging.  At the time of many of these recordings, recording studios, records, and record players were all quite uncommon in Thailand, so releases were often self-distributed and went largely to collectors and folks like party DJs until cassettes ultimately took hold. Things are further complicated by the fact that most releases were only 45s and that cover art could sometimes be quite misleading regarding an album's actual participants.  Also, vintage music is not exactly revered or coveted in Thai culture.  Fortunately, many of the old record shops from the period are still around and still have the same owners and the same dusty stock, so a suitably intrepid person can still find some gems with enough persistence (provided they don't have allergies).

The biggest revelation here is Chaweewan Dumnern, who contributes three songs, all of which are excellent.  My favorite is "Lam Toey Chaweewan," in which she plays the role of a mistress telling her lover that she'll wait for him to leave his family.  Of her three pieces, that one has the sultriest groove, but her vocals are thoroughly gripping and oozing with emotion at all times.  Her inclusion is quite a coup for Miles Cleret and Menist, as I have not seen her work on any other compilations and I had an extremely hard time even finding any of her Thai releases (hint: her name also can be spelled "Chawiwan Damnern").  Another remarkable piece is The Petch Phin Thong Band’s instrumental "Soul Lam Plearn," which blasts into a completely raucous, utterly infectious, and triumphantly ridiculous rave-up after a deceptively noodling lute intro.  I was also quite a fan of Onuma Singsiri's sassy vocals on the melodramatic "Mae Kha Som Tam," which uses a papaya-based salad as a metaphor for urban loneliness. However, there are quite a few other instantly likable songs here as well, those just happen to be the upper tier to my ears.  There is very little weak material or filler.

Aside from the scattering of truly great songs and characteristically informative liner notes, The Sound of Siam is also pretty exceptional for its many bizarre and unintentionally comic touches.  For example, the artists include both former rickshaw drivers and monks, "Ding Dong Ding" was originally on the soundtrack of an Italian "caveman sex comedy," and Plearn Promdan contributes a song about drunken monkeys and weed-smoking elephants.  The music itself can be equally absurd, as Dao Bandon's "May Jom Ka Lon" kicks off with circus-style brass band music and many other songs feature incongruous ripped-off classic rock riffs (even the good ones). Fortunately, quality still reigns, so all of amusing background information, silly morality tales, and misguided musical flourishes only serve to imbue the album with an enormous amount of character and fun.  This is my favorite compilation of the year.

Samples:

 

 

The Eye: Video of the Day

Aranos

YouTube Video


read more >>>

Review of the Day

hirsche nicht aufs sofa (reissues part one)
Dom Elchklang
Something happened first when in Aachen, Germany, in the year 1886, in the shadow of Aachen Cathedral (aka the Dom!), one of the most legendary Gothic pilgrimage churches, Mies van der Rohe, modern architecture's wunderkind, was born. Almost a century later, the next generation of Aachen art royalty was birthed through the collaboration of Christoph Heemann and Achim P. Li Khan. In the shadows itself, of the Dom's pointed arches and Miesian glass-box skyscrapers, Heeman and Khan's Hirsche Nicht Aufs Sofa was a group on the cusp of contemporary experimentation and one possessing, in equal bounty, an almost Gothic, grotesque quality. This rare hybrid, present also in the likes of Nurse With Wound (to which H.N.A.S. is often compared), produced music that effortlessly resists sounding "dated," and is in many cases some of the best likely to be heard. The Dom Elchklang and G. Gonge labels are set to reissue a brand new batch of H.N.A.S. (and related) recordings. These first five, however, are considered by many to be the group's "classic" albums.

Abwassermusik of 1985 was the first H.N.A.S. LP and was culled from the duo's earlier cassette works. Credited to H.N.A.S. and Mieses Gegonge, the record is the most raw of these first five, relying heavily on the manipulated loops and cut-ups that ground the H.N.A.S. sound, and less on the unique instrumentation that dominates the next three records. A rudimentary industrial sound carries over most tracks, but here elements of kraut-rock and tinges of surrealism do emerge. The album's long centerpiece recalls Throbbing Gristle at first, though evolves into a chorus of tribal drums, chirps, and theremin flourishes. As on most all of these Dom reissues, an album's length of bonus tracks has been added here, most very early, very sparse tape works. Exceptions and highlights include a pummeling live track from Mieses Gegonge, sounding something like 50 drug-addled Faust-ians grooving in the bottom of a lake, and the first H.N.A.S. vinyl release, an early showcase for Heemann's elegant drones.


Melchior, released by United Dairies and featuring Steven Stapleton and wife Diana Rogerson, is the first in the great trilogy of early H.N.A.S. albums. The increased influence of surrealism is notable from the start in a brilliant faux-lounge number complete with Rogerson's twisted croon. The record is indulgently theatrical in many places; humorous shouting bits and guitar flourishes fill the gaps between more overt kraut-rock borrowing (surprisingly Achim has said at the time the band "knew nothing about Faust, Neu! and all the OHR/Kraut bands...") and handclap-ful post punk jogs. The whole mess is beautifully paced with soothing guitar lines and Heemann's incomparable drones rescuing each moment of acid-headed confusion. Bonus tracks are mainly '85/'86 era H.N.A.S. tunes, including one of the first (and best) songs recorded by the Melchior line-up, a gnarled landscape of trumpet squeal and organ pulse with the spoken refrain, "Listen to the sun rise, hear the birds scream." Experimentation with a variety of unlikely instruments is at a high among these tracks, creating an atmosphere so difficult to place that it belongs solely to the ageless obscurity of the Dadaists.


Recorded around the same time as Melchior, Küttel Im Frost is often described as the most pop of H.N.A.S. records. According to Achim, its primary influence was early Chrome, but where it is at all similar, Küttel towers above its peers. Rogerson's vocals return, but they've gone from surreal chanteuse to psych screamer. The astounding title track marks a peak in kraut-rock similarity without giving an inch; it's quickly and artfully unclear how much of a mockery Küttel's mish-mash of raucous pop and noise-burst is supposed to be. Bonus tracks all come from H.N.A.S.' first of only two live appearances. The concert is an excellent addition to this disc as much of the performance comes from the Küttel album.


Im Schatten Der Möhre, the third of the truly amazing early H.N.A.S. works and the only one Heemann has felt necessary to reissue on his Streamline label, combines the tenuous, staged beauty of Melchior and the twisted jubilation of Küttel to glorious effect. More dense and cohesive than its predecessors, Im Schatten is also less humorous and more demanding. As such, the album could be the group's most substantial. Bonus tracks here continue on Im Schatten's more abstract bent, fore-grounding Heemann's future work in Mimir and Mirror. Most are compilation tracks or studio outtakes from the '89-'91 period, samples, tape loops, and guitar licks (courtesy of Heeman and brother Andreas Martin) have never been harder to peel apart or label.


The release that should be the least substantial, 1988's The Book of Deingenskirchen, comprised of the group's unaltered '86 - '88 studio leftovers, is oddly one of the most entertaining. Understandably more choppy and raw than Aberwassermusik, Book features a bare-bones industrial sound with elegant, even playful interludes and spoken female vocals throughout. Despite its being essentially a trash heap, Book is the most soothing of all early H.N.A.S.; comparable to falling in and out of sleep during an old German art film. The bonus material here is by far the most various, collecting obscure compilation tracks from '85 to '92. Bizarre Melchior-ian swing tunes line up next to driving kraut grooves, pseudo-surf tracks, alien drones and absurd found sounds, all effortlessly pieced together in the way only H.N.A.S. can, or would.

samples:


read more >>>

Login Form



http://soundcloud.combrainwashedcom


Donate towards our web hosting bill!
Shop
		at the iTunes store