[event] Identite 5.1 // 13th Jan 2012 @ Home Club

Identity.

Definition – The state or fact of remaining the same one or ones as under varying aspects or conditions.
 
I-den-ti-te aims to bring on different genres of local bands into a gathering experience. Always acting as a platform to escalate new and young talents, going forth, branding music capabilities. A new series of programming will entice freshness and depth in accordance to awareness within the local music scene. Be it from the roots of Punk and Hardcore or the progression of Post-Rock and IDM to the commercial value of Pop or the swinging beats of Jazz. These series of pure friendship and music will fill your needs on every other Friday evenings at Home Club. An introduction of what dreams are made of.

A growing brand among the local music scene, the team has churned and discovered new talented acts. Identite nights represent that love and respect that we all have for the local music scene. Come and enjoy your evening with them and communicate with and about music.

13th January, 2012, Friday, 18 and above
$12 (includes a housepour drink and entry to BEAT! after)

Brought to you by Home Club, The Rockstar Collective (RSC), and 7x0x7.

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SLEEP EASY

SLEEP EASY is a mild cocktail of daydreams, nocturnal dreams, the imagined and play-written conversations that condense from seconds of isolation in a small steel flask and drunk only in morning’s darkness or in night’s light. An attempt to project a sufficiently reasonable façade to ease the out-of-line colouring that often rises to the skin surface of its lone member. SLEEP EASY tries to be the short story secretly tucked into the front breast pocket of a writer, a paltry symbolism of reverie, of pondering and of mere thought.

THE PSALMS

The Psalms is a band formed in Singapore, circa 2006. Initially, the band dabbled in music influenced by DAUGHTERS (US) and THE LOCUST (US) with much exploration in discordance or dissonance with objectives aimed at defining and redefining music. In 2008, the band experienced a change in their lead vocals and construction in their sound.

The band was featured in an interview with France's VoxPop, a reputable music magazine, and was described as "rhythmic potency in metal sounds with guitars blending both hardcore and noise, and a voice, similar to that of Camellia Jordana calling us into singing, shouting, and story-telling." In a gig review, The Jakarta Post journalist, Ari Ernesto Purnama who calls THE PSALMS as "Singapore's pro-rock jewel" with "perhaps, if I follow my instincts, I can say that they're SUN RA with rock riffs and a jazz improv a la MILES DAVIS with surprises thrown here and there, plus distorted bass lines akin to Japan's RUINS."

PARIS IN THE MAKING

Formed in 2004, Paris In The Making started out as a five piece rock outfit formerly known as DYNA TURMOIL. Heavily influenced by the European/Japanese screamo scene infused with elements of post-rock citing the likes of heavyweights ENVY and MOGWAI, as prime examples. At present the band is planning out to finish a long-awaited full length album and an Indonesia tour is scheduled upon the release. 

NIGHT HAG

South Australia's hardcore workhorse NIGHT HAG makes Singapore their 1st stop in their SE Asia tour this month. This 2-week blitzkrieg tour will see them bring their brand of blackened hardcore to Singapore, Malaysia, and Indonesia in support of their debut full-length Gilded Age, which has been ranked 5th on CVLT Nation's Top 6 Hardcore Albums of 2011 list. Expect to experience anxiety-inducing black metal to threatening doom, their only constant being the hardcore energy. Relentless Australian touring (this tour being their first overseas) and multiple releases have seen NIGHT HAG develop into one of the most exciting heavy bands around, with a live show not to be missed.    

[event] Tribal Gathering of Jaw Benders // 17th Dec 2011 @ The Substation

As the year comes to an end, join The Substation on Saturday 17 December as they close the year with great original music by local bands, musicians and sound artists. The first annual Tribal Gathering of Jaw Benders will kick off with Gagging Sessions from 2pm-6pm, and conclude with performances by a wide-range of musical acts from 7pm-2am.

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Gagging Sessions
Saturday 17 December, 2pm-6pm
The Substation Theatre and Balcony
Admission: Free

The Substation’s Tribal Gathering music programme invites all local emerging and established bands, sound artists, vocal/voice artists, and traditional musicians to share new, original works. The Gagging Sessions will be held in The Substation Theatre for full band, orchestral and electronic sets, and on the Balcony for acoustic and sound art sets.

BALCONY
4pm - 6pm Max Lane

THEATRE
3pm Narisa Chan
4pm Anechois
5pm Deon The Band

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Tribal Gathering of Jaw Benders
Various Artists
Saturday 17 December 7pm–2am
The Substation Theatre and Balcony
Admission: $20 / $15 (concession) for admission to The Substation Theatre (balcony performances are free) available from the box office
Contact Mish’aal at 6337 7800 / boxoffice@substation.org

A diverse range of artists such as Naz, circuitrip, and The Analog Girl will be performing in the theatre, as well as on the third level balcony, spilling glorious sound onto the whole stretch of Armenian Street.

BALCONY
7pm Bardo
8pm Naz
9pm Cyril Wong
10pm Circuitrip
11pm Red Over Darjeeling
12pm Analog Girl

Theatre
730 Seyra
830 Caracal
930 Marilyns
1030 Cesspit
1130 Akta Angkasa
1230 The Psalms

At the alley, there will be satay, Ramli Burgers from the famous Uncle Ramli and drinks from KICKstart BREWiches Cafe on sale!

[event] Frottage: Casual Encounters at The Pigeonhole iv. // 1st Dec 2011 @ The Pigeonhole

Unrelenting hardcore-punk party starters 7x0x7 are back after a month's mini-hiatus! This time a solo endeavour, they bring you the return of the cult series of intimate musical presentations Frottage, at book cafe and dynamic arts space The Pigeonhole.

This fourth installment features more heartfelt sincerity, headlined by Australian alt-folk musician WELLS, and supported by local indie singer-songwriter NICK CHIM and voodoo psychedelic prog trip-hop outfit THE PSALMS. 

Beware: there may be an overload of beards.

1st Dec 2011 (Thurs)
The Pigeonhole, 52/53 Duxton Road
Doors open at 7.30pm, performances begin at 8pm.
$10 at the door

[event] Tribal Gathering of Tongue Tasters: An Alternative Ensemble // 4th June 2011 @ The Substation

Tribal Gathering of Tongue Tasters : An Alternative Ensemble
Saturday 4 June 2011, 8pm
The Substation Theatre
Admission: $15 / $10 (concession) available from the box office
Contact Mish’aal 6337 7800 / boxoffice@substation.org for tickets and more information

An Alternative Ensemble is a response to the dynamic music landscape in Singapore. AAE represents a palate within, and also an extension of, musical forms found locally. AAE is an experimental collective of musicians and visual artists, performing music written by Bani Haykal, following his recent developments on alternative music + narrative systems. All music performed is part composed and part improvised.

In this series of Tribal Gathering of Tongue Tasters, AAE reflects and expresses the complexity of urban living, the struggles and comfort experienced as inhabitants of this city. Throughout the performance, the audience and performers will interact through short discussions to better communicate the ideas of this experiment.

AAE presents the following performers:

Cheryl Ong (A Bigger Bang)

Matin Fellani

Misha’al (The Psalms)

Reef (Under The Velvet Sky)

Siraaj Anwar (b-quartet / mux / Page)

Yeong Shen (Snou)

With visuals by:

Jun (video projections)

Ila (OHP visuals)

About Tribal Gathering of Tongue Tasters

Each gathering is a sound and performance collaboration between established and emerging local music acts and artists to create a sonic event that recklessly challenges the imagination of home-grown music.

*Remember to bring your cameras and keep your ticket-stubs! Peek is offering all ticket holders 10% discount on cameras. Peek members will also receive 10% off their Tribal Gathering Tickets. More info at http://www.peek-ture.com.

[interview] Picking It Apart: w/ Playfreely I participants Mish'aal and Isyraf (The Psalms), Az and Phid (Stellarium)

Cross talk. From left: Horacio Pollard, Mish’aal, Reggie Perera, Darren Moore and Phid / Photo by The Observatory

"Play Freely" means exactly like it is. Pretensions cast aside, the six-part series organised by The Observatory sees a convergence of musicians from diverse backgrounds bringing in their own unique elements to the mix. With the first instalment held just two weeks ago on April 15, instruments as atypical as the stick, veena, and didgeridoo were matched with more “conventional” offerings of guitar, bass and drum – pushing all involved out of their comfort zones. The result: an improvisational cacophony that was split into four separate sets, each delivering something distinct, yet feral and discordant. Therefore, it would seem apt to speak with some of the musicians involved that night, to get a sense of their perspectives and perhaps, to make a tentative grasp of what unfolded before us in the audience.

First things first, introduce yourselves.

Mish’aal: Mish’aal, bass player from The Psalms.

Phid: My name is Firdhaus, a.k.a. Fid or Phid, whichever. I’m one of the two guitarists for Stellarium.

Az: Az Kadir, I, Noiseferatu, 32, male, outer rims of Orion’s Belt.

Isyraf: Isyraf and I play drums for The Psalms.

Reflecting prior to Playfreely, how did you feel about getting invited to be a part of it? What role does improvisation play in your usual band practices/arrangements?

Isyraf: When Mish’aal told me I was going to be playing with a bunch of musicians I’d never seen or heard of prior, I got all juiced up. Add a veena player into the mix, and immediately I knew that the entire event was going to be interesting and fun; a real eye-opener. In The Psalms, we rarely improvise due to lack of time. Usually one has a song or riff in mind before practice.

Phid: I think me being in Stellarium got me invited to Playfreely. I had mixed feelings, both honored and unsure – mostly honored to be in the mix with talented musicians. Improvisation usually takes place during live shows for Stellarium, making noises and guitar feedback which I did during some parts of my set.

Mish’aal: Initially, I was pretty excited when The Psalms got invited for Playfreely thinking that we’d be collaborating with other musicians as a band. Later, I found out that the band members would be separated, which I was fine about at first, but the closer the event loomed the more nervous I became. It didn’t help when the first thing I saw when I walked into the Black Box were Andy’s effect pedals which I thought was on an epic scale. Regarding the role of improvisation within the band, I’d say it’s pretty much on a “safe” level where we’d come in with a song or basic structure ready, which we’d try out before making any changes. The entire band has an input on everyone’s parts, thus improvisation is kept at a minimal since we’re helping one another out.

Az: It was great in a sense that the people behind Playfreely made it such a fun thing to explore. It’s different than say, being invited just to session or play something as is; this is definitely well thought of and considered and planned. In Stellarium, we don’t require much improvisation really, it’s always diagrams and structures and sounds in my head prior.

Did you “cheat”? Did you do anything to prepare for your part(s) during the set? If so, what?

Az: Yes, some honey, and I took a rocket-ship first to my home planet near Orion’s belt.

Isyraf: No. Basically whatever that comes to mind will automatically go into my drumming. All the preparation I had was to keep telling myself to maintain eye contact with the other musicians, and also to really dig in and listen.

Mish’aal: Didn’t have the chance to cheat or come out with parts before the set. Sorry.

Phid: Nah! There’s no way one can cheat or prepare for such events. That will only backfire.

Starburst: Az (left) and Isyraf / Photo by Andy Yang

What kind of feelings did you experience during your set(s)? What did you find coming out? Were there riffs or chord patterns that you were familiar with? Did interacting with the other musicians push you to places you hadn’t been before?

Phid: Mine was the first set, with Darren Moore, Mish’aal, Reggie and Horacio [Pollard]. So it was pretty awkward for us I guess. No one knew when to start and what to expect. Not sure if they had eye contact but not me. I just looked down and did my thing using what I heard as a guide. I’m not a very good guitarist so I mostly did familiar things which I’m used to with Stellarium while accommodating to the other musicians.

Az: I felt a clash of elements, it was like an amalgamation of chaos, bliss, harmony and conflict. What came out was a kaleidoscope of thoughts and uncertainties, as well as aggression and reluctance. Also a tinge of frustration, maybe ‘cos some of us failed to gel while some did; and when given room but not having the opportunity to, I found that I had to take the lead, which I think was the main brunt of this element of tension coming about. I kind of enjoy playing and exploring different areas musically with other musicians, regardless of the outcome. It’s good for growth of abilities and also widens the perspective.

Mish’aal: During the first session I was in my comfort zone – I was basically playing droning riffs which I was used to without really pushing myself. I was worried that if I tried to do something different, I would spoil the set, especially when I didn’t know the other musicians at all (except Fid whom I went to secondary school with and finally got to see/play with him after all these years!). However, the last session really threw me outside of that aforementioned comfort zone, as there was no sense of common rhythm that I could fall back to. Plus there was no communication between the four of us which then required full concentration.

Isyraf: It was awesome! I wanted Arun to kick off the set and he really did. I didn’t even tell him what I had in mind! That was really weird. When everyone came in after he gave count, that was it. I can’t tell you how much fun it was. Everything sounded great from where I was. We were playing as a unit, we weren’t playing individually. I could hear the guitarist (Az) pulling his sound back a bit to give way to the veena player (Arun) and also vice versa. I tried my best not to overplay but then again I don’t even know how to overplay. I love beats that are plain and simple. Anders and Az made the whole thing sound sick and twisted. It was suh-weet! It felt like I was in an asylum but in a good way. Then again, I’ve never been to an asylum before… hahaha. Plus I totally lost track of time. The melodies which came from the veena really got me hooked. Arun was like the pied piper slowly reeling me in.

Search & destroy: Isyraf (left) and Anders Hana (MoHa!) / Photo by Andy Yang

How was it collaborating with the other musicians during your set? What did you think of them?

Mish’aal: Collaborating with the others was pretty awesome, especially knowing who they are (I’m not a groupie but I’m usually in awe of musicians or performers with talent). I thought each and everyone of them came in with their own definition of “play freely” and applied it during their sessions, which was rather varied.

Isyraf: I don’t know any of the musicians personally except for Mish’aal but I’m more than willing to work with them in the future. I’m really curious about their thought processes when it comes to music.

Phid: From where I was, I couldn’t hear what Horacio and Reggie was playing but a friend watching said our set was really good. Darren Moore was great on drums and Mish’aal was spot on at getting the groove going. There was a lot of respect amongst us. I felt a great sense of accomplishment after our set. It felt great.

Az: It’s always great to collaborate with people, albeit the negative results. It’s a matter of luck, chance and chemistry, despite existing talent and skill. I think everyone had their own contribution from whatever musical backgrounds they came from.

What did you think of the other sets? Of the entire event in general?

Mish’aal: I really enjoyed the whole event, it was fun watching individuals who had never played with each other prior get thrown together. I really liked how the veena player blended in nicely with the drums during the second session. Also, the event allows musicians to interact with those whom they may not have a chance to in regular circumstances.

Phid: I loved the sets featuring Mr Arun Kumar on the veena. I was sure he was nervous based on his body language during the briefing by Dharma before the show. But he kept his cool and played like a true master. Andy’s “stick” was very interesting – I didn’t know of its existence till that day. The event itself was well-planned, and the turnout was good. I applaud the idea and I’d love to witness the next one. I personally wish to see more exotic instruments at future shows.

Az: I think some of the sets were better and had more tandem chemistry, but I also thought that it was leaning too much in one particular area. I think it’s best to try and step beyond yourself and connect, and not stay within one’s own boundaries.

Isyraf: In general, the entire event was very memorable. I miss it already. Loads and loads of thanks to Dharma and the rest of The Obs for giving me an opportunity to be a part of the event. I really appreciate it.

Phid slinging it low / Photo by Andy Yang

How much of a challenge was this for you considering how you are not “improv” musicians in the specific sense of the word?

Az: Everyone does some “improv” unconsciously, when they are tuning up their strings or noodling at home, composing, etc. I guess as a songwriter I’m inclined to improvise? Yeah.

Mish’aal: I think most of the Psalms would know that I pretty much suck at improvising, as I’m very bothered by criticism or what people might think. Therefore I hardly step out of my comfort zone and venture new styles. So participating in something like this without knowing at all what to expect was something really nerve-wrecking for me.

Isyraf: I didn’t take it as a challenge in the first place. This may sound cheesy but it was more like self-exploration for me. I wanted to know if I could gel with players coming from different musical backgrounds. I seriously have no idea when I’ll “graduate” but I’m still learning and exploring. The best way is to just keep playing/reading/listening and learning from other players.

Phid: Yes, I’m not really an “improv” musician per se. I tried to make some improvisations at times during my set but I was more focused on blending with the other sounds. The challenge really was to get out of my comfort zone, play the guitar unconventionally, but what IS the conventional way?

Can one make mistakes in an improv set? If so, what constitutes a mistake in such a performance and did you find yourself making mistakes? If there are no such thing as mistakes, why not?

Phid: Yes definitely. When one gets carried away trying to outshine the others instead of working together. I can’t tell but I really hope I didn’t make that mistake. Which reminds me of what Dharma said when he noticed that I was nervous: “there are no mistakes; there are only good and bad choices.”

Mish’aal: I don’t think you can say mistakes happen in an improv set, because I think when you are improvising the lack of a template or structure allows you to basically play off of other musicians, against the backdrop of what they are playing.

Az: Well, I don’t think there are mistakes in the avant-garde doctrines, but as far as me – being purely a musician – yes of course. I can’t say much about this as I’m not schooled well enough in its concepts and frameworks; I’m from a place much more primal than that. In the end, does it matter whether what a heart and soul expresses is a mistake? I think not.

Isyraf: I don’t think one can make any mistakes during an improv session. Music has this weird way whereby everything will just fit in nicely. You just have to follow the flow.

This one is for Mish’aal only. Elaborate on how the two sets you played in juxtaposed against each other. How were they different?

Mish’aal: The first set was pretty straightforward. It was something I was very comfortable with, compared to the second one which literally had me going through a whirlwind of emotions just trying to anticipate what was coming. During the first session there were a lot of points where the each musician kept the structure consistent.I usually play through drummers but for session two, there was no common rhythm or direction that I could fit into (except during one part where the drummer slowed down his beats as if he was following the bass line, but only to shift to patterns that took me by surprise). Each of us were just playing on our own and I was just struggling trying to think of any riffs/things. The two sessions put together really showed how different each musician interprets their idea of improvisation jam.

Mish’aal sh’miles… at Dharma (The Observatory) / Photo by Andy Yang

[event] The Great Lion City Takeover // 16th April 2011 @ The Lithe Paralogue Studio

THE ROCKSTAR COLLECTIVE PRESENTS "The Great Lion City Takeover - 2011 series"

16th April 2011, 4pm. 6 bucks. The Lithe Paralogue Studio Blue Block.

Featuring friends:

UNVISUAL

BLOODY REJECTS

ABRASION

THE PSALMS

NARROW-MINDED

7 POUND VEIN

RUINS AND REMAINS

This will also be the last show over at the studio as they will be moving out come April to a new location in the east.

Poster design done by KILAS.

How to get there?

By MRT: Bukit Batok MRT Station(NS2)

By Bus: From MRT take 852 (alight after the 5th/6th stop, you will see a colourful BIG signage infront of you called SPECTRA, alight after the bus turn right)

Bus services:
67 (Choa Chu Kang Interchange - Tampines Interchange)
75 (Bukit Panjang Interchange - Marina Centre Terminal)
170 (Queen Street Terminal - Larkin Terminal)
171 (Yishun Interchange - Marina Centre Terminal)
173 (Bukit Batok Interchange (Loop)
184 (Bukit Panjang Interchange (Loop)
852 (Yishun Interchange - Bukit Batok Interchange)
961 (Woodlands Regional Interchange - Lorong 1 Geylang Terminal)
961C (Sun & P.H.)

By Car:
1. via Bukit Timah Expressway (BKE)
- exit Dairy Farm Road
- turn left into Upper Bukit Timah
- enter Firestation to the left before T-Junction

2. via Pan Island Expressway (PIE)
- exit Upper Bukit Timah Road
- drive towards Woodlands
- U-turn after Old Ford Factory
- enter Firestation to the left before T-Junction

[event] Tribal Gathering of the Tongue Tasters #4 // 2nd April 2011 @ The Substation

The Psalms + NAZ (Revolta) + Bani Haykal (B-Quartet) + Mai (Rika)

as part of the Tribal Gathering of Tongue Tasters

Saturday 2nd April, 8pm

Venue: The Substation Theatre

Admission: $15 and $10 (students)

To purchase tickets please call Mish’aal 6337 7535 / 6337 7800 or email boxoffice@substation.org

Band merchandise will be on sale.

Presented by The Substation.

**For every ticket, you will be entitled to a 10% discount at Peek!

Peek membership card holders gets 10% off normal ticket prices!

About the Tribal Gathering of Tongue Tasters

The Tribal Gathering of Tongue Tasters is The Substation’s new music and sonic arts programme. The Substation has invited a selection of the finest emerging and established sound artists, bands and collectives to challenge the deifnition of home-grown music and performance. This is the first performance for 2011.