And the
barnacled skeletons of young men pressed into death
By imperial
dreams and decrees
And yet
still you urge me forward through the cross current
Beckoning
with a supple serenity to surrender
To the will
of the waves and the boundaries of reason
When one
climactic zone transitions to another
Do we change
our name or simply inch forward as we are
Sure . . .
unsure
Shore . . .
no shore
Sure . . .
unsure
Shore . . .
no shore
それ . . . あれ
Why don’t
you turn around to face me
As I flail
about amidst the black surge
Edo-wan at
dusk is lonely beneath the skin
At odds with
the detritus below and the neon crescent wrench
That grasps
it tight at night
When the
denizens of the depths recoil from reach
Why don’t
you relight, ignite, send a pulse, a flair
At least
make clear
That your
crystal tips and grey-eyed equanimity
Were no
deep-sea deceit, midwater mindfuck mirage
Minding your
own business on the seabed is no trouble at all
When you
were there all along and doing it anyway
Skindiving
in Tokyo Bay
Past the
shored-up satiety of Odaiba
Past the
rusted-through remnants of the showy and the Showa
Past the
echo-bait of subterranean human mazecraft
Past where the
plateau pauses, then drops into the deep beyond
That place
where the sawn edges of the Pacific parted ways
Leaving only
memories of electric Taisho and the swordsharpeners of the Shitamachi
Blades
brandished to keep the merchants at bay
Skindiving
through the black machinery of now
Moorings
loosened and discarded
Caution fed to
the crabs, eyeless in the cold abyss
Reaching out
to your lips with ease and understated grace
Shore . . .
no shore
Sure . . .
unsure
Shore . . .
no shore
Sure . . .
unsure
それ . . . あれ
Shreds of
red sky refract through the surface zone
Twilight
ignites with new dreams and tender memories
Sexy exits,
sleek décolage
Runway lights through the depths signalling a bridge beckoning to the abyssal
plain below
Beyond the
Minamibōsō
boundary and into the open ocean
Where no
one will dare follow
Where
drunken tengu sharks swim sentinel
Round the
rusted hulls of prison ships and drowned memories
That place
where chemosynthesis keeps me warm
Where all
our junctions jut out to face the spectral surface
The weight
of four million square feet of sensory overload
Rolls my
eyes back as my back imitates the nautilus, twirling and fading into you
And through
the midwater zone
Curviline
contours shade in and out of sight
Beyond the
convection of currents into the discrete vocabulary of night
Ribbons,
cloaks and shields tumble to the depths
As my senses
lose all defences
And sea and
sky turn black and fiery phosphorescent
I’ve seen
you here in the sightless jagged caverns of the hadal zone
Shimmering
self, alive as angry weight attacks my eardrums
Sparks
flying upwards, depth charges blowing holes through my sense of space and
self-imagination
No choice at
all but to follow the pinpricks of light and crawling cloudbursts of belief
Maps of the
universe splashed across the void
In violent
disarray
Sure . . .
unsure
Shore . . .
no shore
Sure . . .
unsure
Shore . . .
no shore
それ . . . あれ
The depths
breathe and churn
Viperfish
stir from their sleep
Shipmarks
dissipate in distant darkness
We venture
on inch by endless inch
Your
tenderness and spark my only beacons
Your sonar
my only sight
Nothing left
but to face the light
And dive
deep through rifts and currents
Ocean sinew
unconstrained by mind or pressure
And then the
tsubo markers of the ocean floor open
outwards
With soft
landings in sheets of silt ensured
Alone
together enveloped in empty space
Freezeframe,
endgame, freeze still, stay the same
There’s no
pain in paralysis
Grasping
hold of the moment and never letting go
Even as the
silt and sediment scratch the membrane, erode the nerve endings
Hollow reeds
bending and snapping
Broken on
our piece of seabed
All my
fibres, all your curves, connected and alive
Safely sheltered
from the angry currents above
Beyond the
ridges and rift valleys that tear at our senses
Leaving only
echoes of their teeth-grinding tension
Growing
softer and more distant
As we settle
in for the long night
Shore . . .
no shore
Sure . . .
unsure
Shore . . .
no shore
Sure . . .
unsure
それ . . . あれ
あれ
あれ
あれ
This poem was written for the Mile Zero Dance's show Without Borders - and specifically for a dance-spoken word collaboration with the amazing dancer/choreographer/human being Jen Mesch. It was performed with Jen at dc3 Art Projects in Edmonton on February 20 and 21, 2015.
My post from last August entitled "10 Asian Bands You Should Know" was one of my most popular - popular enough that I felt compelled to write a follow-up post on the same subject. For one, the research that went into writing it unearthed far more than ten candidates, requiring some culling, and since then I've stumbled over countless others, making the original ten seem like a paltry representation of the musical cream of a continent that's home to over half of humanity. So here we go with Part 2.
Notice the slight change of title. I opted to open things up to include solo artists, as the term 'band' is unnecessarily limiting. I've also done my utmost to cover countries that weren't included in last year's list. Here we go again!
1. Faiza Mujahid
Origin: Lahore, Pakistan
Style: Pop-Rock
Recommended for fans of: Karen Zoid, Lily Allen, Cyndi Lauper, Sarah McLachlan
Source: tribune.com.pk
The emergence of preteen human rights heroine Malala Yousafzai as a global household name following her near-death at the hands of local religious extremists has done much to shed light on the deplorable state of women's rights in the Islamic Republic of Pakistan. While Pakistan was among the earliest countries to elect a woman leader and women have held notable positions of political power, the country ranks near the bottom of virtually every study on the global status of women. Bride murders, acid attacks, child marriage, honour killings and domestic violence remain epidemic in much of the country, but thanks in large part to Malala's remarkable activism, there appears to be slow but tangible progress in pushing back the country's barbaric Hudood Ordinances and combating misogynistic tribal notions of 'justice'.
Paralleling Malala Yousafzai's emergence as a global figure in the fight for women's rights has been the emergence of Pakistan's new leading lady of rock music, Faiza Mujahid. Born and raised in the musical hothouse of Lahore, home to icons such as the late Qawwali singer Nusrat Fateh Ali Khan and Sufi rock legends Junoon (a band often referred to as the U2 of Pakistan), the young star has quickly become a fixture on Pakistani TV and radio thanks to her catchy pop-rock anthems and her promotion of women's rights through her music. Her latest single 'Uth Oye' ("Wake up") was accompanied by a critically acclaimed video by Pakistani filmmaker Fatima Shah, which features literacy crusader Farah Deeba, acid attack victim Sabira Sultana and the members of Pakistan's national women's field hockey team in one of the most triumphant feminist music videos in recent memory.
2. Chthonic
Origin: Taipei, Taiwan
Style: Thrash Metal
Recommended for fans of: Sepultura, Slayer, Lamb of God
Source: 3.bp.blogspot.com
The past few decades have seen the island "nation" of Taiwan emerge as arguably Asia's most vibrant and energetic civil society and liberal democracy. In spite of the country's perpetual geopolitical conundrum vis-à-vis mainland China and ugly political factionalism (or perhaps because of it), the Little Island That Could enjoys, in addition to one of the region's highest standards of living, Asia's highest press freedom rating, a thriving media culture and some of the region's most progressive social attitudes. (Taiwan is set to become the first Asian country to legalize same-sex marriage.)
As I noted in my original Asian band post last summer, Taiwan's complicated and often traumatic history and its present-day crisis of identity have helped engender a diverse and vibrant modern music scene. Of the island's musical exports, none have achieved the notoriety of Taipei's premier thrash-metal hellraisers Chthonic. Founded in 1995, Chthonic combines heavy metal theatrics with lyrics in Mandarin, Japanese and a handful of Aboriginal Taiwanese languages and incendiary political messages and have courted their share of controversy over the years. (Their antics have included burning the Kuomintang (Nationalist Party) flag in commemoration of the 2/28 Massacre of 1947.) Outspoken in their advocacy of Taiwanese independence from China, land rights for Taiwan's Aboriginal tribes, Tibetan and Uyghur liberation, feminism (bassist Doris Yeh is a noted women's rights activist) and animal rights, Chthonic have been banned from mainland China on multiple occasions, while their popularity - in China and elsewhere - continues to rise.
Heavy metal may not be able to bridge one of Asia's most protracted geopolitical impasses, but at least it's worth a try. And given this band's uncanny ability to broach topics that have long been taboo in the region, Chthonic might just be the ones to lead the way.
3. Miila and the Geeks
Origin: Tokyo, Japan
Style: Punk, No-Wave, Riot Grrrl
Recommended for fans of: Bikini Kill, X-Ray Spex, PJ Harvey, Cibo Matto
Source: nohopesofun.blogspot.com
Japan may still be very much a man's world, but when it comes to the country's indie rock scene, it's anything but. In the early nineties as the Riot Grrrl scene was flourishing in the northwestern US, a parallel female-driven rock scene was brewing in basement clubs in places like Shibuya (Tokyo) and Shinsaibashi (Osaka), from which internationally successful girl bands like Cibo Matto, Buffalo Daughter, Shonen Knife and Red Bacteria Vacuum were born. Not that Japan's Riot Grrrl scene was born of a vacuum. Japan is home to a long and under-recognized tradition of female musical experimenters from postwar big band jazz innovator Toshiko Akiyoshi and the future Mrs. Lennon (a lynchpin of the 1960s Fluxus movement) to DNA drummer Ikue Mori and electronic music pioneer Sachiko M. Certainly a far cry from the "good wife, wise mother" stereotype.
The girl-punk scene in Tokyo and Osaka still appears to have plenty of life to it. Among its latest exponents are Shibuya kids Miila and the Geeks, who consist of vocalist-guitarist Moe Wadaka, drummer Kaoru Ajima and saxophonist Ryota Komori. Sound-wise they're an amalgam of Stooges-era garage rock, late-seventies No Wave punk in the spirit of DNA and Teenage Jesus, the Olympia, Washington scene of the early nineties that gave the world Bikini Kill, Bratmobile, Sleater-Kinney and the rest and a dose of Shibuya-kei glam. Komori's sax gives the band a sound akin to vintage X-Ray Spex, while Wadaka's sexy vocals are reminiscent of a young PJ Harvey. A relatively new addition to the Tokyo music scene, Miila and the Geeks have cultivated a strong following in Japan but have yet to branch out overseas. Time will tell if they can follow in Cibo Matto's footsteps.
4. MastaMic
Origin: Hong Kong, China
Style: Hip Hop
Recommended for fans of: Del Tha Funky Homosapien, Kanye West, Eminem
Source: timeout.com.hk
In my previous post on great Asian music acts, there were two notable omissions: hip hop music and the city of Hong Kong. Both have something of a reputation problem within the context of this topic area. Hong Kong, in spite of its outsized presence in the global economy, has long been an underachiever in the arts (with the notable exception of its film industry), owing to a lack of public investment, a dearth of performance venues and, until 1997 at least, political isolation, which until made it difficult for Hong Kong artists to tour in mainland China. Likewise, hip hop music, in spite of its remarkable ubiquitousness across the globe (arguably only heavy metal can match hip hop's track record for travelling well) has long been a hard sell in Asia. While foreign rap artists have long enjoyed popularity in Hong Kong, Tokyo, Seoul and elsewhere, homegrown rappers in these countries have had an uphill battle gaining respectability. And in spite of Psy's recent transpacific success, the notion of Asian rap still elicits snickers in the west.
Tong Sung-ching, aka MastaMic, is a one-man machine dedicated to raising the bar for Cantonese language hip hop and gaining respectability for the Hong Kong scene. Active since 2005, the 28-year-old MC has already been dubbed Hong Kong's "Freestyle King" and is currently the city's best known rapper. In addition to his prodigious rapping talent, MastaMic has also earned recognition for his scene-building activities, namely the establishment of the 'Justice League' - a motley assortment of musicians, break dancers and graffiti artists - and Hong Kong's first hip hop news community at www.urbanation.hk. While rap in Asian languages may not yet have earned respectability outside the region, Cantonese rap is certainly no longer considered a joke in Asia's World City. And much credit is due to this guy for fighting on its behalf.
5. Avial
Origin: Thiruvananthapuram, India
Style: Alt-Rock, Jam Rock
Recommended for fans of: The Police, Phish, Pearl Jam, R.E.M., Asian Dub Foundation
Source: Cochinsquare.com
Cosmopolitan, laid-back and socially progressive, the tiny, densely populated southwestern Indian state of Kerala has long punched above its weight in cultural and artistic terms. Thanks to a long history of cultural cross-pollination, a large diaspora population in the Middle East, East Asia and elsewhere and high levels of literacy and media penetration, Kerala has emerged as something of a powerhouse in literature, film and music, combining a rich tradition of Malayalam-language poetry and Carnatic music with modern influences from around the globe. Kerala's best-known musical export is legendary classical-pop crossover singer K.J. Yesudas, who has recorded over 50,000 songs in a phenomenal 17 different languages over the course of his 50-year career.
Rock music in India has long enjoyed an outsized following in the country's southern states, with prosperous southern cities like Bangalore and Chennai being home to sizeable indie rock scenes. Of Kerala's current crop of bands, the most celebrated has been the Thiruvananthapuram-based band Avial - a name taken from the state's signature spicy vegetable curry dish. Founded in 2003, the quartet of vocalist Tony John, guitarist Rex Vijayan, drummer Mithun Puthanveetil and bassist Binny Isaac stands out among south Indian rock bands for their almost exclusively Malayalam-language material and their infectious blend of traditional melodies, rich politically charged Malayali poetry and hooky jam rock. Their name perfectly captures their sound: rich, complex, sometimes fiery but always delicious.
6. Pesawat
Origin: Ampang, Malaysia
Style: Alt-Rock, Post-Punk
Recommended for fans of: We Are Scientists, The Killers, Deadmau5, Manic Street Preachers
Source: juiceonline.com
Malaysia, like Hong Kong, is something of an underachiever on the international music scene, although for somewhat different reasons. While the country has all the ingredients for a great music scene - cultural diversity, a rich indigenous musical tradition and a growing middle class, social conservatism, authoritarian governance and creeping Islamism have long conspired to make life difficult for homegrown and visiting international artists alike. International stars ranging from Madonna to Linkin Park have felt the sting of Malaysia's censorship laws, and more recently Erykah Badu was banned from performing in Kuala Lumpur because of a tattoo featuring the word 'Allah'. While the current prime minister has called for a retrenchment of the country's censorship regime and recent concert dates by Katy Perry and Adam Lambert have gone ahead in the face of Islamist ire, Malaysians still have a long way to go before they can enjoy the sort of artistic freedom their counterparts in Taipei and Tokyo take for granted.
Censorship notwithstanding, Malaysians are still a musical bunch and there are plenty of bands around, especially in cosmopolitan Kuala Lumpur. Among the most celebrated bands at present is the KL quartet Pesawat ('Airplane'), whose punchy, bilingual (Malay and English) indie rock anthems have gained them a substantial following both at home and in neighbouring Indonesia, and earned them a spot at the 2010 Music Matters festival in Hong Kong alongside Jason Mraz and other international headliners. The band's love of all things aviation-related is a tad awkward in the wake of their country's worst ever air disaster, but their musical chops are undeniable. It will be interesting to see, though, if they lose the aviation fixation in light of the MH370 tragedy.
7. Sliten6ix
Origin: Phnom Penh, Cambodia
Style: Hardcore Punk, Deathcore
Recommended for fans of: Slipknot, Murderdolls, Napalm Death
Source: khtrends.wordpress.com
The demise of Phnom Penh's once vibrant rock 'n' roll scene is one of the most tragic chapters in modern Asian music history. While Cambodia under the rule of King Sihanouk in the 1960s was mostly characterized by poverty, corruption and mismanagement, the country's worldly capital city burgeoned with artistic energy, including what was once Asia's most fertile rock music scenes, a scene that persisted into the early 1970s amid military coups and carpet bombing. Then in 1975 it was completely silenced, obliterated by the Khmer Rouge forces. The vast majority of the country's musicians were physically eliminated by the new regime, either executed or worked to death in rural 're-education' camps. Some pre-revolutionary rock stars amazingly survived the Khmer Rouge nightmare, including 1960s Cambodian rock legend Touch Seang Tana, who succeeded in passing himself off as a peasant in a tale recounted in the recent documentary film Cambodia's Lost Rock 'n' Roll.
While Pol Pot has been dead for a decade and a half now and the Khmer Rouge are long gone, the colossal blow to Cambodia's cultural life that they dealt is one the country is still struggling to bounce back from. Cambodia remains an extremely poor country, and even in Phnom Penh musicians struggle to make ends meet. That said, there are signs of a musical renaissance in the country, particularly within the capital city's hardcore punk scene, with a new crop of fierce young bands like No Forever, the Anti-Fate and Sliten6ix giving voice to some of the country's pent-up anger. Of these, deathcore band Sliten6ix has garnered the most attention for their extreme sounds and confrontational lyrics. If there's any band active in Cambodia today that truly encapsulates this traumatized country's lingering pain and anguish, it's these guys.
8. Rudra
Origin: Singapore
Style: Death Metal, Black/Pagan Metal
Recommended for fans of: Children of Bodom, Burzum, Dimmu Borgir, Tengger Cavalry
Source: citynomads.com
The city-state of Singapore broke away from the Union of Malaysia in 1963 (actually was pushed out - it's a complicated story) but inherited much of the latter's authoritarian governing style and socially conservative temperament, giving the city the unfortunate nickname "Fine City" thanks to its penchant for issuing fines for trivial offences ranging from gum-chewing to not flushing the toilet. Fortunately, southeast Asia's Garden City has loosened up a great deal in recent years, a move that has coincided with a veritable music boom. Things started to get interesting in Singapore in the early 1990s with the birth of the Lion City Hardcore (LCHC) scene, a homegrown hardcore punk scene inspired by the New York Hardcore scene, and one that brought the likes of NOFX, Fugazi and The Oppressed to a town still struggling to overcome its 'No Fun City' reputation.
More recently, Lion City has seen the rise of a small but significant heavy metal scene, spawning a . Singapore's metal community stands out not only for its energy but also for its ethnic diversity, and appears to have an outsized following among the youth in the city's Malay and South Asian minorities. Of Singapore's recent metal exports, the two most electrifying acts are the terrifying grindcore ensemble Wormrot, who have gained substantial international exposure thanks to a recording contract with the British label Earache (of Napalm Death and Carcass fame) and the hypnotic 'Vedic Metal' group Rudra. Originally formed back in the days of LCHC in 1992, the Indo-Singaporean band is the South Asian answer to the Viking Metal of Scandinavia, combining Indian classical sounds with Sanskrit Vedic literature with brutal death metal riffs.
Singapore may be a world away from Oslo or Reykjavik, but the spirit captured by Rudra is much the same as that of their Nordic counterparts. It's as though there's a direct correlation between orderly, law-abiding societies and thriving death metal scenes.
9. Yat-Kha
Origin: Moscow, Russia
Style: Space Rock, Post-Rock
Recommended for fans of: Pink Floyd, Hawkwind, Magma, Mogwai
Source: bbc.co.uk
In 1922, in the wake of Russia's post revolutionary civil war, the People's Republic of Tannu Tuva broke away from Russia to form an independent socialist republic in central Siberia that was recognized by nobody except for the USSR and Mongolia. The country was a total disaster, ruled by a mentally unstable Kremlin stooge named Salchak Toka - a man primarily concerned with suppressing nomadic cattle husbandry and Buddhism (Tuvan society's two most defining pillars), and in 1944 the country was reabsorbed by the Soviet Union. But the Tuvan region's fierce sense of national autonomy never wavered, and in the post-Soviet era this remote corner of the Siberian steppes with longstanding cultural ties to Mongolia and Tibet has experienced a cultural renaissance, all the while avoiding the sort of separatist strife that has plagued Chechnya and other wayward backwaters of the Russian Empire.
In the early 1990s the Tuvan Republic's iconic kargyraa throat singing enjoyed a period of world music cachet thanks to albums by Philip Glass, Kronos Quartet and others. In the meantime, exiled Tuvan folk rocker Albert Kuvezin joined forced with renowned Russian electronic composer Ivan Sokolovsky to form the band Yat-Kha (named after a distinctive Tuvan-style zither), a unit that remains one of the Russian Federation's most innovative rock bands. Combining throat singing with synth and guitar-driven space rock reminiscent of vintage Hawkwind, Yat-Kha has over the past few decades featured a rotating cast of premier musicians from the Tuvan region and elsewhere and earned plaudits from the likes of Brian Eno and Russian music journalist Artemy Troitsky, who famously lauded Kuvezin as one of "two unique voices on earth" together with Luciano Pavarotti.
Unlike Pavarotti, Kuvezin is still around, as is Yat-Kha - still channelling Tuva's ancient traditions into the 21st century.
10. Side Effect
Origin: Yangon, Myanmar
Style: Alt-Rock, Pop Punk
Recommended for fans of: Green Day, Blink 182, Foo Fighters....aw hell, anyone likes to see rock 'n' roll triumph over totalitarianism!
Source: pri.org
Myanmar? Burma? I don't really know which name to use. Burmese pro-democracy icon Aung San Suu Kyi says 'Burma' but atlases say 'Myanmar'. Regardless which name you go with, until very recently this country was about the last place you'd expect to find a thriving rock scene, being home to the most despotic regime in Asia not named North Korea. Yet even through the darkest years of repressive military rule, music had a way of squeezing through the cracks. A curious industry emerged in the Burmese capital during during the junta years known as "copy tracks" wherein 'professional plagiarists' would deliver bang-on renditions of everyone from Metallica to Lady Gaga to cheering throngs. Illegal? Definitely. Necessary for a beleaguered nation's sanity? Almost certainly. And so far Lars Ulrich hasn't kicked up a fuss.
It may well be that a decade of Metallica, Motley Crue and Coldplay knock-offs have paid off in grand style in Myanmar, as the country has seen a veritable explosion of homegrown rock music since its military rulers began loosening their grip in 2012. Myanmar's long deeply underground punk scene is now so prominent that a German film crew recently shot a documentary about the scene, entitled Yangon Calling. Of this new generation of angry young Burmese bands, the one that's garnered the most international attention thus far has been Side Effect, a Yangon-based pop-punk unit who have successfully crowdfunded their way to the 2014 SXSW Festival in Austin, Texas - a triumphant first for a Burmese band. Based on their sound, one can only imagine they've paid their dues in Yangon bars doing Blink 182 and Green Day covers, but their exuberance is that of a country taking its first tentative steps into democracy. Chee kyu ba de, boys - you've made it!
I stand here
Usagi in the headlights
In Omoide Yokocho
Piss alley turned memory lane
Isn’t drunkenness supposed to kill your memories - the ones the B29s couldn't?
The city hangs overhead
Searchlights evanesce
Caricatured modernity envelops Showa movie sets
The clash of light
Too much to bear
It would all be too easy
To play the role of the drunken tengu
In the backalleys of Shinjuku
Hypnotized by the hanging masses, comforted by the steady hum
Of postwar light fixtures and the underground thrum
Eventually someone
Will flatten this quadrant of space and time
And I could lying drunk across this alley
Arthur Dent on the Sumida
Waiting to see who rusts first
Pinpricks of towerlight tap my skull
Worker bees still at it
Keeping the city alight
And irrelevance-free
The modern still hasn’t punched out, don’t you know?
When academics assert that the 21st century belongs to Asia, they're generally talking about economics - not rock 'n' roll. And yet, if the current global musical landscape is any indication, it would appear the same can be said about rock and pop music. Pity, though, that the western world has yet to really take note. The global phenomenon of Psy's 'Gangnam Style' last year launched South Korea onto the forefront western pop music, but as I noted in a post back in December, foreign-language hits in the Anglo-American world tend to be flashes in the pan - as indeed he is proving to be. While Park Jae-sang deserves much credit for raising the profile of Asian pop music in the west, there's only so much one tuxedo-clad Monty Python horse-riding Korean rapper can do.
Sadly, North America is a veritable Hermit Kingdom when it comes to popular music. K-Pop, J-Pop and all its other regional variants are old news in much of the world, especially within Asia, where language differences have proven to be of little barrier onslaught of Japanese, Korean and Chinese pop and rock acts across the continent at large, with growing numbers from other Asian countries adding new vectors to the continental music picture. Beyond East Asia, artists from Korea, Japan and elsewhere are making waves in countries as divergent as Turkey, Poland and Brazil, places where, unlike in Asian countries, cultural proximity can in no way be counted on to compensate for language gaps.
While most of the Asian pop music taking over the world's airwaves is of the candy-coated teen pop variety, this is but the tip of the proverbial iceberg. Virtually all of the continent's major cities abound with punk, funk, prog, metal and electronic music, much of which seems to possess a rawness and energy that seems to be lacking in the Anglo-American west. A major factor, no doubt, is the fact that most of these countries are relatively young democracies with deeply rooted socially conservative mores, where tattoos, wild hair and loud music still count as acts of rebellion. Whatever the case, Indonesia's skatepunks and Vietnam's headbangers could well teach their North American counterparts a lesson on how to rock 'n' roll.
A list of must-hear contemporary Asian bands could well run into the hundreds. Here is my own semi-educated top ten.
1. Galaxy Express
Origin: Seoul, South Korea
Style: Alt-Punk
Recommended for fans of: The Ramones, Manic Street Preachers, Foo Fighters, Kings of Leon
Source: seoulbeats.com
Anyone who thinks the idea of Korean punk rock sounds absurd needs to better acquaint themselves with Korea. And punk rock. We're talking a hard-boiled country with a tumultuous modern history whose present-day economic prosperity (in the South, that is) has done nothing to soften its people's flinty temperament. It's a country where student protests are practically a national sport and parliamentary democracy is (literally) a bloodsport, with debates on national security occasionally degenerating into fisticuffs that would make Tie Domi blush. The language is gutteral, the profanity colourful, the food fiery and the road etiquette borderline homicidal. It don't get much more punk than this!
That said, South Korea's domestic rock scene hasn't always had it easy; as late as the 1980s the military government regularly censored various acts. But after a quarter century of democracy, K-Rock has truly come of age. And of the current crop of bands, indefatigable alt-punkers Galaxy Express are generating the most attention, with a Best Band award at the 2011 Korean Music Awards, three US tours and a major following in Japan. Since forming in 2006, the trio of guitarist/vocalist Park Jong-hyun, bassist/vocalist Lee Ju-hyun and drummer Kim Hee-kwon have built a reputation as one of the hardest working bands on the planet. Punk passion meets Confucian work ethic - that's the Galaxy Express trademark!
2. Dachambo
Origin: Yokohama, Japan
Style: Jam Rock, Psychedelia, Neo-Prog
Recommended for fans of: Phish, Juno Reactor, I Mother Earth, Hawkwind, Fela Kuti, early Santana
Source: i.listen.jp
For a country with such strict drug laws, Japan has a remarkably enduring love affair with psychedelia and all things hippie. A straight-laced society on the surface, the country does indeed possess a strong granola-crunching, Gaia-worshipping streak, as is evident in the Lorax-on-acid visions of Hayao Miyazaki, the peace-love-dope lyrics of bands like dub reggae legends Audio Active and the hemp-clad denizens that congregate every year at festivals like the Fuji Rock Festival, Asagiri Jam and so on. It's also a country with a longstanding devotion to progressive rock, with some Tokyo record stores seeming to specialize in rare King Crimson and Magma bootlegs as well as those of J-Prog legends like Hikashu, Shingetsu and the Ruins.
Combining these two national predilictions is Dachambo, Japan's premiere psychedelic jam band. Dachambo burst onto the local scene in 2004 with their debut album Dr. Dachambo in Goonyara Island with their mesmerizing brand of classic jam and psychedelic rock, and have since been a fixture at the Fuji Rock Festival, Japan's biggest rock music festival. Combining Santana-inspired guitar riffs and Latin percussion, Hawkwind-style space rock synth patches, a heavy dose of Afrobeat (including a memorable cover of Fela Kuti's 'Zombie' on their debut album) and their trademark didgeridu, this Yokohama sextet manages to sound like the entire globe - if it were ground up, stuffed into a bong and then smoked. By Japanese hippies.
3. Matzka
Origin: Taidong, Taiwan
Style: Folk Rock, Reggae
Recommended for fans of: Michael Franti, Burning Spear, Shokichi Kina, Ry Cooder
Source: thinktaiwan.com
Taiwan is a small island with a big, complicated personality. An independent nation state in all but official designation, it exists in political limbo while it continues to grapple with its legacy of Japanese colonialism, Cold War-era Guomindang authoritarianism and enduring friction between the 'native' Taiwanese (of Han Chinese descent), newer settlers from the mainland and the island's non-Chinese indigenous peoples. Add to that the influence of rapid economic growth and the wholesale urbanization of a once overwhelmingly agrarian society - coupled with political factionalism that, like in South Korea, occasionally results in parliamentary punch-ups, and you have a combustible culture ripe for artistic expression.
While Taiwan's aboriginal tribes represent only two percent of the island's population (and a significantly smaller portion of its economic pie), Taiwan's first people nevertheless occupy an outsized position in the country's contemporary music scene, producing international pop stars like A-mei, Difang, Samingad and Landy Wen. With an indigenous cultural resurgence now gaining strength, a growing number of aboriginal artists are loudly proclaiming their roots. Of this new generation, the most successful has been Song Weiyi (aka Matzka) and his quartet by the same name. Mixing reggae, folk rock and traditional vocals, in a combination of Mandarin and the Paiwan language, Matzka has proven to be a hit not only across the island but on the mainland as well.
4. Radioactive Sago Project
Origin: Quezon City, Philippines
Style: Funk, Jazz-Rock, Punk, Ska, Spoken Word
Recommended for fans of: Soul Coughing, P-Funk, early Red Hot Chili Peppers, Primus, The Mighty Mighty Bosstones
Source: shootingcorners.blogspot.com
When it comes to absorbing western musical influences and making them their own, the Philippines have had an enviable head start over all their Asian neighbours. With 300 years of Spanish colonialism followed by a half-century under Stars and Stripes, the land of jeepneys and adobo chicken manages to be simultaneously Asian, Polynesian, Hispanic and Yankee without any apparent friction. Moreover, the presence of large overseas Filipino communities in virtually all parts of the world has helped the motherland remain on trend, which helps explain why Korean soap operas, European art films and American rap music compete for the attention of this forever easily distracted country.
The Philippines' abiding love for jazz dates back to the turn of the 20th century, when the US wrested control over the archipelago from Spain, blossoming in the swing era with ensembles like the Pete Aristorenas Orchestra, the Cesar Velasco Band, the Tirso Cruz Orchestra, the Mabuhay Band and the Mesio Regalado Orchestra. In recent years Pinoy jazz has seen a resurgence thanks to groups like Johnny Alegre Affinity, Akasha and its most outlandish practitioners, the Radioactive Sago Project. Founded in 1999 by journalist/gonzo poet Lourd De Veyra, RSP combines slam poetry on sex, drugs, corruption and life in Metro Manila with a fierce, punkified blend of funk, ska and trashy Pinoy pop with some of the capital region's top session players. Fantastic stuff!
5. Modern Dog
Origin: Bangkok, Thailand
Style: Alt-Rock, Shoegaze
Recommended for fans of: Belle & Sebastian, Placebo, Mojave 3, My Bloody Valentine
Source: thaifilmjournal.blogspot.com
Thai rock music is one of Asia's best kept secrets. First introduced to the country by American GIs, rock 'n' roll was embraced by the Thais like few others, and more than anywhere else in the continent it has served as a protest vehicle. Most famous among Thailand's early rock rebels are the veteran folk-rock quartet Caravan, a group that emerged amid the 1973 democracy movement with their distinctive blend of rock and traditional folk music and more than anybody else established a uniquely Thai rock sound. But despite this and the countless other bands ranging from metal to shoegaze, Thai rock 'n' roll hasn't travelled very well - perhaps owing to the fact that Thai artists can't count on the kind of overseas diasporic support that their Filipino and Korean counterparts enjoy.
One of the few Thai bands to achieve success outside their homeland is Modern Dog. Established in Bangkok in 1992, this stripped down Brit-rock-influenced trio consisting of vocalist-rhythm guitarist Thanachai 'Pod' Ujjin, lead guitarist May-T Noijinda, drummer Pavin 'Pong' Suwannacheep and a rotating procession of bass players has been hailed as the leading lights of Thai indie-rock and have developed niche followings in Japan and the United States. While not an international household name, Modern Dog has earned the respect of many in the international musical community; their 2004 album That Song was produced by Tony Doogan (of Belle & Sebastian and Mogwai renown) and featured cameos by Sean Lennon and Cibo Matto's Yuka Honda.
6. Ngũ Cung
Origin: Hanoi, Vietnam
Style: Progressive Metal
Recommended for fans of: Tool, Queensrÿche, Porcupine Tree, Queens of the Stone Age, Rush
Source: rockstorm.vn
What is it exactly about the old Soviet Bloc and its near-universal prediliction for heavy metal? Is it the Soviet Brutalist architecture? The labour camp atmosphere? The bad fashion? Whatever the reason, from Minsk to the Mongolian steppe, Stalin's children have in vast numbers traded the hammer and sickle for the pentagram and collective farming for collective hair-thrashing. The land of Ho Chi Minh, it turns out, is no exception, although it took a bit longer for it to gain a foothold there. Vietnam's nascent 1960s rock scene, concentrated in wartime Saigon, was all but quashed by the communists following their victory over South Vietnam in 1975, and even with the Đổi Mới reforms of the 1980s it was slow to resurface.
The past decade, however, has seen Vietnamese rock music blossom like never before. And given that the country has all the requisite ingredients - a tortured past, a socialist present, a melancholy culture with a flair for melodrama and a language full of cool diacritical marks (Eat your heart out, Mötley Crüe!) - it was only a matter of time before Vietnam emerged as a metal powerhouse. Of this new generation of Vietnamese hard rockers, the most prodigious are the prog-metal quintet Ngũ Cung (lit. 'Pentatonic'). Made up of graduates from the Hanoi Conservatory of Music and led by operatic vocalist Hoang Hiep, Ngũ Cung first gained attention through a national talent show in 2007 and then drew international praise for their epic debut album 365000. Expect more from these guys!
7. Biuret
Origin: Seoul, South Korea
Style: Alt-Rock, Goth/Emo
Recommended for fans of: Evanescence, Flyleaf, Garbage, The Gossip, Muse
Source: londonkorealinks.net
Sadly, Asian rock, like rock music everywhere else, remains a very male-dominated affair. All across the continent, female performers have tended to be relegated to the bubblegum pop/male eye-candy category, wherein performers are judged more on their looks than their musical ability and tend to fade from the public eye after a brief halcyon period. While a few countries produced their own equivalent to the early 1990s Riot Grrl scene, with the exception of Japan (where female-led alt-rock units like Buffalo Daughter, Shonen Knife and Cibo Matto achieved substantial success), female-driven punk and alternative rock has largely remained underground, and information on such bands (in English at least) is hard to come by.
There are, of course, a few welcome exceptions. Of the current crop of hard-hitting Korean band taking Asia (and to a lesser extent North America and Australia) by storm, among the most incendiary is goth-punk outfit Biuret, led by charismatic frontwoman Won Moon-hye (who also maintains a double-life as a musical theatre performer). Established in Seoul in 2002, the band first gained prominence by opening for Oasis in the Korean capital and in 2009 shot to the top echelons of Asian rock by winning the Sutasi Pan-Asian Music Award, followed by festival appearances in Australia and the UK. With their gothic intensity and manga-esque style, Biuret have become helped elevate the stature of Korean rock abroad while combatting gender clichés at home.
8. Tengger Cavalry
Origin: Beijing, China
Style: Black Metal, Folk/Pagan Metal
Recommended for fans of: Turisas, Burzum, Hellthrone etc.
Source: last.fm
It should surprise no one that the tough denizens of the nation founded by Genghis Khan have developed a profound love for heavy metal. Metal bands began emerging in Mongolia almost immediately after the fall of the communist regime in 1990, led by acts like Hurd, Kharanga and Niciton. Veteran Mongol metalheads Hurd ('Speed'), with their trademark wolf pelts and portraits of the Great Khan, heralded the emergence of an eastern equivalent to Scandinavia's viking metal, and in doing so provoked a modicum of panic in China's Inner Mongolia Autonomous Region, where in 2004 the authorities cancelled a Hurd gig on fears of ethnic unrest and riot police were forced to disperse a crowd of 2,000 irate fans.
Ironically, the most extreme of the Mongol Horde-inspired metal bands originates from the other side of the Great Wall in the city that Genghis conquered and made the centrepiece of his Yuan (Mongol) Dynasty. Named after the chief deity in traditional Mongol shamanism (Zh: 铁骑), Tengger Cavalry was originally formed as a one-man project by a multi-instrumentalist known as Nature Zhang, and has since grown into a six-piece behemoth, incorporating Tibetan/Mongolian throat singing and traditional North Asian instruments into Scandinavian-style doom metal - to terrifying effect. While the band has yet to tour outside China, they have begun attracting significant overseas attention, opening for Finnish pagan metal Turisas in Beijing this spring.
Fans of this genre should also check out the Kazakhstani band Aldaspan, who, like Tengger Cavalry, have married metal with the traditional sounds of the steppe to make music that will make you want to loot and pillage your way along the Silk Road.
9. Billfold
Origin: Bandung, Indonesia
Style: Hardcore/Skatepunk, Riot Grrl
Recommended for fans of: L7, Suicidal Tendencies, Bad Religion, Fugazi, Rancid
Source: facebook.com/thisbillfoldbandung
It's worth noting that in the vast majority of Asian countries, being a punk rocker (or any other breed of rocker for that matter) is considerably easier today than it was a generation ago. Of the artists profiled here, all but two hail from electoral democracies, and the two countries that aren't are nonetheless much more socially and culturally permissive now than they were 20 years ago. That said, socio-political challenges remain. In Indonesia the past decade-plus of uninterrupted democracy has also seen a rising tide of Islamism, which is making life increasingly difficult for the country's famously passionate hardcore/skatepunk community. In Medan in Islamist-dominated Aceh Province, 65 punks were arrested over a year ago and sent to re-education camps, and even in the liberal capital Jakarta religiously motivated crackdowns on punk venues have occurred.
In spite of rising religiosity, punk continues to thrive in the world's largest Muslim country, aided in no small part by the country's wholesale embrace of social media. (Jakarta alone produces 2.4 percent of the world's tweets.) Among the latest crop of Indo punk acts, one of the most compelling is Billfold. Founded in 2010 in the hardcore hotbed of Bandung, West Java, Billfold is everything the local Islamists love to hate - a female-fronted social media-savvy skatepunk outfit. While information on the band in English is hard to come by, the writhing masses of punked-up youth prostrating at the feet of frontwoman Gania Alianda and their 31,000-plus Twitter following (nearly half of Rancid's tally and nearly 20 percent of Henry Rollins') suggests these kids are on to something. Allah be praised; punk is not dead!
For a country that has long been placed on a pedastal by western artists, India's ascendency as a legit force in contemporary popular music was a long time coming. With the notable exception of prodigal son Farrokh Bulsara (better known to the world as Freddie Mercury), Indian artists have long chafed under western preconception of uncoolness, either lumped in with classicists like Ravi Shankar and Zakir Hussain or with the cheesy morass of Bollywood. This finally began to change in the 1990s with the emergence of diasporic artists like Talvin Singh, Sam Zaman/State of Bengal and Asian Dub Foundation in the UK and Karsh Kale and Monica Dogra in the US, whose varied crossover projects heralded a 21st century 'Cool India' renaissance.
In the meantime, social change and rapid economic growth have transformed the motherland's music almost beyond recognition in the past decade. In the late 1990s, Delhi boys Gaurav Raina and Tapan Raj founded the electronic crossover combo MIDIval PunditZ at a time when the Indian capital still barely had any nightclubs. Today live music venues abound in India's major cities, and the scene that Raina and Raj helped establish has created a powerful bridge between the diaspora and homegrown artists. With five studio albums under their belt, numerous overseas festival appearances and an impressive list of collaborators, including Karsh Kale, Anoushka Shankar, Monica Dogra and Assamese folk rocker Angaraag 'Papon' Mahanta, Indian music has never looked more enticing.
And one honourable mention
One country notably absent from this list is, not surprisingly, North Korea. I did so try to find a North Korean band to include here, but alas I came up empty-handed. The People's Republic of China and the Socialist Republic of Vietnam may still be one-party authoritarian states, but the fact that bands like Tengger Cavalry and Ngũ Cung can not only operate openly but also perform overseas attests to their countries' increasing openness and social liberalization. Sadly, musicians inside the People's Democratic Republic of Korea enjoy no such freedom, and while closet punks, headbangers, emo kids and ravers may exist, there's little likelihood of any North Korean bands reaching western audiences anytime soon.
The video below was the best I could do. Given that official party functions are about the only gig to be had in this country, this type of thing is the closest thing to a rock concert any North Korean is likely to attend. I have no idea who these musicians are or even the significance behind this particular rally (possibly a missile launch, if the film footage a behind the band is any indication), but at the very least these ladies have a chance to make some music. And the pyrotechnics on display here are vaguely reminiscent of Kiss. That aside, the only silver lining is that China was just as despotic as present-day North Korea under Mao Zedong. Hopefully in a decade's time I'll be able to write about a rock renaissance in Pyongyang. In the meantime, though, you'll have to content yourselves with this.
