Tag Archives: psychedelic

The Story of OAG

 

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OAG, which stands for Old Automatic Garbage, was formed on Christmas Day in 1992 and was one of the first English-language alternative rock bands to enjoy mainstream success in Malaysia. They first came from the underground music scene and were initially influenced by seminal 60’s rock bands such as The Velvet Underground, The Beatles, and Pink Floyd.


OAG 全称 Old Automatic Garbage,是一支在 1992 年圣诞节成立的乐队,也是马来西亚第一批成功进入主流市场的英语另类摇滚乐队之一。他们一开始活跃于地下音乐界,而上世纪六十年代的摇滚乐队,比如地下丝绒乐队(The Velvet Underground)、披头士(The Beatles)和 Pink Floyd 这些乐队,则给予了他们音乐创作的最初影响。

The band’s big break came when they signed to Positive Tone and released their debut album, Old Automatic Garbage, in December 1994. The album went far beyond anyone’s expectation at the time, eventually going triple platinum and helping spark off the alternative music scene in Malaysia. Their hit, “60’s TV,” has become one of the most recognizable alternative rock songs in Malaysia, and the song’s accompanying music video also helped signal a new creative direction for music videos in the country. The band would become well known by Malaysian audiences for their exciting live performances and catchy tunes.


1994 年 12 月,乐队与 Positive Tone 音乐制作公司签约,并发行首张专辑《Old Automatic Garbage》,迎来乐队生涯的重大转折点。这张专辑获得了超乎所有人预期的成功,最终销量高达三百万,同时也让另类摇滚在马来西亚流行起来。他们的热门曲目《60’s TV》已经成为马来西亚国内最知名的另类摇滚歌曲,这首歌的 MV 也为马来西亚音乐 MV 创作开启了新的方向。凭借精彩的现场表演以及琅琅上口的音乐,OAG 成为了马来西亚家喻户晓的名字。

The success of their first album was followed up by a critically acclaimed, dance-inspired EP, Melody Mocker, and the band was also enlisted to write and perform the theme song for the 1997 FIFA World Youth Championship. The two albums that later followed in 2002 and 2003 respectively, Opera Radhi-o Friendly and Satelit Inkwere recorded in their native Malay language as the band tried to attract a bigger Malay audience.


首张专辑大获成功后,乐队之后发行的舞曲风格 EP《Melody Mocker》也广受好评。随后,乐队获邀为 1997 年的国际足联世界青年足球锦标赛创作和演唱主题歌曲。在 2002 年和 2003 年,他们又分别发行了两张以母语马来语创作的专辑《Opera Radhi-o Friendly》和《Satelit Ink》,试图吸引更多马来西亚当地听众。

Since then, the band went through a few lineup changes and a couple hiatuses. Founder, lead vocalist, and guitarist Radhi Razali says that one of the challenges for rock music in Malaysia is that people still underrate rock bands at times. Radhi tells us, “The music industry in Malaysia is very diverse and [the music is] getting weirder, bigger, bolder, crazier. There’s a lot of new experimental stuff coming in by the young newcomers, but rock is still always here. Rock is tough. Rock will never die in Malaysia!”


此后,乐队又经历了一些成员变动和几次休整。乐队创始人、主唱和吉他手 Radhi Razali 认为,对于本土摇滚音乐来说,他们所面临的挑战,有时是源于摇滚乐队在马来西亚未曾受到重视的现实。Radhi 告诉我们:“我认为马来西亚的音乐产业非常多样化,并且变得越来越怪异、浩大、大胆……也变得更疯狂,现在的年轻人带来了很多全新的实验音乐,可摇滚乐还是屹立不倒。在马来西亚,摇滚乐是永垂不朽的!”

The band just celebrated their 25th anniversary last year and marked the occasion with a special concert in Kuala Lumpur at The Bee Publika, combining old and new members alike. The current generation of OAG is the fifth generation of the band, with Radhi Razali on vocals and guitar, Qi Razali on drums, Muhamad Nizam on guitar, Nazrin Zabidi on bass, and Izmer Khasbullah on keyboards. “I’m hoping it’s also gonna be the last generation of OAG because I’m getting old,” Radhi says, “I might look like a 16-year-old Jackie Chan, but I’m 39 years old already!”


在去年,乐队刚刚庆祝了他们成立 25 周年的纪念日,并在吉隆坡 The Bee Publika 举行了一场特别的音乐会,新老成员一起同台出演。目前 OAG 队员已经是乐队的第五代成员,包括主唱和吉他手 Radhi、鼓手 Qi Razali、吉他手Muhamad、贝斯手 Nazrin Zabidi 以及键盘手 Izmer Khasbullah 在内。“我希望我们这一代的 OAG 也是最后一代了,毕竟我年纪也大了。”Radhi 说,“我可能看起来还像 16 岁的成龙,但我已经 39 岁啦!”

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Contributor, Photographer & Videographer: Leon Yan


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供稿人,图片摄影师与视频摄影师: Leon Yan

Reintrepreting Pop Culture

Yantra (II): The Eye of Horrors

Reza Hasni is an illustrator and motion graphics artist from Singapore who creates colorful psychedelic pop art. Bringing together influences ranging from religion and sacred geometry to pop art and emojis, Hasni’s work introduces mystical ideas in a playful, modern-day manner. In true pop art form, the artist shared with us his thoughts on various topics through a curated collection of quotes from TV shows and celebrities.


Reza Hasni是来自新加坡的一名动态图像设计师和插画家,作品多为色彩缤纷的迷幻流行艺术。从宗教到神圣几何学,从流行艺术到表情符号,都是Hasni的创作灵感,他通过作品,以现代、有趣的方式,讲述各种神秘的想法。这位艺术家用名副其实的流行艺术形式,用一系列引言,转述他自己关于不同话题的想法。

Channeling
The Wheel of Internet
Yantra (III): Peace

On Artistry

“I never cared so much about making perfect sense. I wanted to make perfect nonsense. I wanted to tell jokes, but I didn’t give a fuck about the punchline.”
– Harmony Korine

“Real artists have day jobs.” – Sara Benincasa

“You have to think anyway, so why not think big?” – Donald J. Trump


关于艺术

“我从来没有特别想要讲有意义的话。我只想说完美的废话。我想说笑话,但我又不会特意去想什么笑点。”—— 哈莫尼·科里恩(Harmony Korine)

“真正的艺术家都会有一份全职工作。”——Sara Benincasa

“反正你得思考,为何不想得远大点?” ——唐纳德·特朗普(Donald J. Trump)

Merkabah
Egg of Life

On Inspiration

“Some people choose to see the ugliness in this world, the disarray. I choose to see the beauty. To believe there is an order to our days. A purpose.” – Dolores Abernathy from Westworld


关于灵感

“有些人选择关注这个世界的丑陋之处,关注混乱与无序。但我选择去关注其中的美好;选择去相信我们的生活有着自己的秩序和意义。”

——朵洛莉丝·埃布尔纳西(Dolores Abernathy),《西部世界》(Westworld)

Voyage
Guardian Illusion
Yantra (IV): Guardian

On Culture

“I refuse to accept other people’s ideas of happiness for me. As if there’s a ‘one size fits all’ standard for happiness.” – Kanye West


关于文化

“我拒绝接受别人对幸福的定义,说得好像所有人的幸福都是一样的。”

——坎耶·韦斯特(Kanye West)

Ikaros: Puro Sonido (Pure Sound)
Series 02: Sushumna

On Religion

“Is that what God does? He helps? Tell me, why didn’t God help my innocent friend who died for no reason while the guilty ran free? Okay. Fine. Forget the one offs. How about the countless wars declared in his name? Okay. Fine. Let’s skip the random, meaningless murder for a second, shall we? How about the racist, sexist, phobia soup we’ve all been drowning in because of him? And I’m not just talking about Jesus. I’m talking about all organized religion. Exclusive groups created to manage control. A dealer getting people hooked on the drug of hope. His followers, nothing but addicts who want their hit of bullshit to keep their dopamine of ignorance. Addicts. Afraid to believe the truth. That there’s no order. There’s no power. That all religions are just metastasizing mind worms, meant to divide us so it’s easier to rule us by the charlatans that wanna run us. All we are to them are paying fanboys of their poorly-written sci-fi franchise. If I don’t listen to my imaginary friend, why the fuck should I listen to yours? People think their worship’s some key to happiness. That’s just how he owns you. Even I’m not crazy enough to believe that distortion of reality. So fuck God. He’s not a good enough scapegoat for me.” – Elliot Alderson from Mr. Robot


关于宗教

“那是上帝会做的事情吗?告诉我,上帝为什么不帮助我无辜的朋友?他无故死去,而有罪者都得以逍遥。好吧!先不说这些单个个案了。还有那无数场以他之名打响的战争呢?好吧!我们也先不说随机无意义的谋杀。还有那些我们因为他而产生的种族歧视、性别歧视和各种恐惧呢?而且,我不仅仅是指耶稣,我指的是所有有组织的宗教、排外团体,为控制人们而诞生,一个让人们对‘希望’上瘾的毒贩,其追随者不过是瘾君子,只求吸一口,好保持他们无知的多巴胺。他们不过是不敢相信真相的上瘾者。真相就是根本没有秩序,没有神力,所有宗教都不过是在人们内心不断扩散的蠕虫,旨在分裂我们,以便让那些想掌握我们的骗子统治我们。我们对他们来说只是他们写的很烂的科幻小说系列的迷弟,专门给他们送钱去。如果我都不听我幻想朋友的话,又凭什么要听你们幻想出来的朋友的话。人们以为他们的崇拜是通往幸福的钥匙,而他正是靠这样控制住人们。就连我都没法疯到相信这种对现实的扭曲。所以,去你的上帝,他对我来说不是一位好的替罪者。”

—— 艾略特·奥尔德森(Elliot Alderson) ,《黑客军团》(Mr. Robot)

Thangka: The Wheel of Life
Thangka: Meta Suta – Imaginary Quest

On the Future

“Who knows? It’s like asking where’s Waldo.” – Jerry Seinfeld

“The Force will be with you. Always.” – Obi Wan Kenobi


关于未来

“谁知道呢,这就像是在问‘瓦尔多在哪儿’(Where’s Waldo?)的感觉。”—— 杰瑞·宋飞(Jerry Seinfeld)(《Where’s Waldo?》是一个美国知名的在线游戏,玩家须在茫茫动画人海中找到主人公“瓦尔多”)

“原力将与你同在……一直都会。” ——欧比旺·肯诺比,电影《星球大战》(Star Wars)

Yantra (V): Durga (Harmony & Balance)
Multiverse

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Instagram: @reza.hasni

 

供稿人: George Zhi Zhao


脸书~/rezahasne
Instagram@reza.hasni

 

供稿人: George Zhi Zhao

Hisham Akira Bharoocha

Ex-member of the Providence noise rock bands Lightning Bolt and Black Dice, Hisham Akira Bharoocha is also known as a multi-disciplinary visual artist. Half Japanese and half Burmese, Hisham moved around often in Canada, the U.S., and Japan with his family as a kid; his parents had the “American Dream” to make it out West, he says. Some of his artistic output includes some spectacular collages that he started to produce after he graduated from the Rhode Island School of Design (RISD) in Providence, Rhode Island. Neocha recently got to chat to Hisham about what inspires his stunning collage work in an exclusive interview below.


プロビデンス出身のノイズロック・バンド、ライトニング・ボルトとブラック・ダイスの元メンバーであるHisham Akira Bharoochaは、学際的なビジュアルアーチストとしても知られています。日本人とビルマ人との両親の間に生まれたヒシャムは、家族と共にカナダ、アメリカ、日本を転々とする幼少期を過ごしました。両親は、西洋で一旗揚げるという、いわゆるアメリカンドリームを抱いていたと彼は言います。彼のアート作品の中には、ロードアイランド州プロビデンス市のロードアイランド・スクール・オブ・デザイン(RISD)卒業後に制作を始めた見事なコラージュが見られます。今回のNeochaの独占インタビューでは、目を見張るようなヒシャムのコラージュ作品にインスピレーションを与えるものが何なのかを語っていただきました。

Neocha: When did you start doing collages?

Hisham: I started making collage-style notebooks when I was at art school. They were scrap books filled with photos and other things from my day to day life. I was influenced by Shinro Ohtake, Yamataka Eye, and Peter Beard, who all also made collage scrap books. After graduating from RISD, I found myself with not enough money to buy film, process the film, make prints, etc., so I started making collage as artwork as it was much cheaper to make. The reality of my situation drove me to make this kind of found image collage work. 


Neocha: コラージュを始めたのはいつ頃ですか?

Hisham: アートスクール在学中にコラージュスタイルのノートを作り始めました。これは、日常生活の写真を始め、様々な出来事が詰まったスクラップブックでした。私と同じようにコラージュのスクラップブックを作った大竹伸朗、山塚アイ、そしてピーター・バードに影響されたのです。RISDの卒業後はフィルムを買ったり、現像したり、印刷する資金がなかったので、はるかに安上がりなコラージュ作品を作り始めたのです。当時の生活が、このような既存の画像を集めたコラージュ作品を作るきっかけとなったのです。

Neocha: What is the concept behind some of your collages? Are they done in a series or sporadically?

Hisham: The concept comes from my fascination with how human minds are all wired differently and my collages are a visualization of how surreal the mind can be. Our viewpoints on what we experience through our senses is skewed are all based on our cultural background, life history, and mental affiliations to objects based on our upbringing. One’s mental architecture can be vastly different from another person’s. My collage work references dreams, daydreams, and meditation as well. 

Sometimes they are created as a series, mostly because a group of them were made at a certain time in my life where a few topics were at the forefront of what I was thinking about. But they are sometimes created sporadically, since I may be working more on mural paintings or drawings. I work on all mediums at the same time usually. 


Neocha: ヒシャムさんのコラージュにはどのようなコンセプトがありますか?シリーズ、それとも単発的に制作しているのでしょうか?

Hisham: コンセプトは、人間の心がそれぞれどのような異なる形で繋がっているのかという点への強い関心から生まれ、コラージュ作品には、心がいかに超現実的なものかがビジュアライズされています。私達が感覚を通じて得られる視点はぼやけていて、これは育ち方に基づく文化的背景、生活史、そしてオブジェクトとの精神的な結び付きによって異なります。人間は、一人ひとりの精神構造が大きく異なります。作品の中には、夢や白昼夢、そして瞑想をテーマにしたものもあります。

時には、人生のとある時期に考えていたことが真っ先に浮かんだものをいくつかのトピックとし、シリーズ化した作品もあります。ただ、壁画や線画の制作に徹していたため、単発的な作品もあります。と同時に、普段は考えを伝えるための手段として作品を手がけています。

Neocha: What materials do you use? Anything special or notable about your creative process?

Hisham: Until very recently I was using only found imagery for my collage work. That grew out of my photographic background, being interested in documenting moments that happen in the world that I am not imagining but just come upon – found moments. In my own collage-making process, I am constantly amazed and inspired by strange images I come upon which I cut from old books I find at the thrift stores. When I photograph, I am amazed to happen upon a situation that I could not have imagined myself, which leads me to want to make an image using a camera. In this way, I feel collage making is an extension of my fascination of the strange world we live in.

I have recently started using my own photographs in collages, and it has definitely changed the way the finished collages feel to me, since there is a reference to my own experiences and impressions I carry home in the photographs. I like that they reference a personal experience but they are very different from my earlier collage works. I still use found images in my collages, but at this point I haven’t really been mixing found imagery with my own photographs. 


Neocha: どのような素材を使っていますか?ヒシャムさんの制作プロセスで特筆または注目すべき点はありますか?

Hisham: つい最近まで、既存の画像のみをコラージュ作品に取り入れていました。これは、私の想像によるものではなく、この世で起きた瞬間的な出来事を記録に残すことに関心がある、写真家としての歴史から生まれたものです。浮かび上がったその瞬間を残すのです。コラージュ制作のプロセスでは、古本屋で見つけた本から切り抜いた奇妙なイメージに驚かされ、インスパイアされることがあります。写真を撮る時は、想像もしなかった状況との偶然の出会いに驚き、そこからカメラを使ってイメージを作るという思いに駆られます。これによりコラージュ制作は、私達が住む一風変わった世界への魅力を伸ばすものだと感じています。

最近は、撮影した写真をコラージュに取り入れることで私自身の体験や印象の片鱗が見せられるため、コラージュへの仕上げに対する思いが大きく変わりました。個人的な体験が元になっていたとしても、初期のコラージュ作品とは大きく違う点が気に入っています。今でも既存の画像をコラージュに使うことはありますが、既存の画像と私の写真を合わせて使うことはほとんどありません。

Neocha: Who are some of your creative influences? What inspires your collages?

Hisham: I mentioned some names earlier, but I remember being so in love with Russian propaganda poster art from the communist era, as well as some artists like Tadanori Yokoo, Dieter Roth, Man Ray, Maholy-Nagy, Henry Darger, Adolf Wolfi, Gabriel Orozco, Rosemary Trockel, Lothar Tempel, Tony Oursler, Sol Lewitt, Robert Irwin, Richard Tuttle, John McCracken, Frank Stella, James Turrell, Blinky Palermo, and Ann Truitt – to name a few off the top of my head. As a teenager, I was super into skateboard graphics from the 80’s and 90’s especially Jim Phillip’s graphics. These artists inspire me not only for my collage work, but for all the other types of work I do, which include mural paintings, performance, sculpture, and so on. 

I’m also very much inspired and influenced by my friends that I went to art school with, like Ara Peterson, Brian Chippendale, Bjorn Copeland, Whitney Bedford, Jim Drain, Dan Colen, and Joe Bradley – to name a few. I am still very inspired by my friends in New York. Going to studio visits is very inspiring. I feel lucky to get to go to galleries and museums regularly here. 


Neocha: ヒシャムさんの創造力に影響を与えた人物は誰ですか?コラージュにインスピレーションを与えるものは何でしょうか?

Hisham: 先ほど何人かの名前を挙げましたが、旧ソ連・共産主義時代のプロパガンダポスターアートであったり、横尾忠則、ディーター・ロス、マン・レイ、モホリ=ナジ・ラースロー、ヘンリー・ダーガー、アドルフ・ウォルフィ、ガブリエル・オロスコ、ローズマリー・トロッケル、ローター・テンペル、トニー・アウスラー、ソル・ルウィット、ロバート・アーウィン、リチャード・タトル、ジョン・マクラッケン、フランク・ステラ、ジェームズ・タレル、ブリンキー・パレルモ、そしてアン・トゥルイットといったアーチストにハマっていたことが頭に浮かびます。十代の頃は、80年代から90年代にかけてスケートボードのグラフィックス、特にジム・フィリップスのグラフィック作品にハマりました。これらのアーチストは、コラージュ作品だけでなく壁画、パフォーマンス、彫刻など、私が手掛けたあらゆる種類の作品に影響しています。

また、アラ・ピーターソン、ブライアン・チッペンデール、ビョルン・コープランド、ホイットニー・ベッドフォード、ジム・ドレイン、ダン・コーレン、ジョー・ブラッドリーなど、アートスクール時代の仲間達にも大いに触発され、影響を受けています。ニューヨークの友人達からは今でも大いにインスパイアされています。スタジオに足を運ぶ際はとても良い刺激になります。ここでは定期的にギャラリーや美術館を訪れることができ、とても幸運だと思っています。

Neocha: As you are also a musician, what role does music play in your visual artwork? Any relation?

Hisham: The creative process is very similar. It can start with a gesture, one mark with a brush, one cut-out shape in blank space. One mark leads to another. One drum hit or note on a guitar will lead to the next and very quickly you will have a beat or a melodic line. It may start with a gesture but usually a concept can be discovered during the process of creation.  

Most of my visual work feels rhythmic. I try to create compositions that keep your eye moving across a surface, so the viewer has the experience of movement when looking at an image. I like cyclical rhythms in my music and I try to create visual work that expresses that kind of feeling, like a rhythm where you can’t tell where it starts and ends. I want my visual work to feel like a non-religious mantra, not so much like a sentence with a start and ending. 


Neocha: ヒシャムさんはミュージシャンでもありますが、ビジュアルアートでは音楽がどのような役割を果たしていますか?繋がりはありますか?

Hisham: 制作プロセスがとてもよく似ています。身ぶりであったり、絵筆による印付けであったり、余白から形を切り抜くことから始める時もあります。そして、一つの印から次の印が生まれます。ドラムの一打やギターの音符から次の音色が生まれ、次の瞬間にはビートやメロディーラインが作られます。たとえ身ぶりから始まったとしても、通常、コンセプトが制作プロセスの中で見つかります。

私の大半のビジュアル作品にはリズムが感じられます。作品を見る人がイメージを見た際には動きを感じ、表面全体を見渡すような構成を心がけています。私は自分の音楽の周期的なリズムが好きで、どこから始まりどこで終わるのかも分からない、リズムのような感覚をビジュアル作品で作るように心がけています。始めと終わりがある文章ではなく、宗教性を帯びないマントラをビジュアル作品で表現したいと思っています。

Neocha: Have you come across anything interesting and new happening in the Asia region that has inspired you?

Hisham: I have always been interested in artists from Asia since I grew up in Japan. I like technology-meets-sound artists, such as Ryoji Ikeda – but of course I am also inspired by work by legends such as Lee Ufan, Ai Weiwei, and Park Seo-Bo. I hope that Asian artists can support each other knowing that there are cultural tensions based on what our governments have done to each other during wars and what not, but art should be a place where we can all connect and come together, talk about issues and support each others’ viewpoints. 


Neocha: アジア地域で、インスピレーションの源となるような興味をそそる新しい出来事には遭遇しましたか?

Hisham: 日本で育ったため、アジアのアーチストにはずっと興味がありました。池田亮司のようにテクノロジーとサウンドを融合させるアーチストが好きですが、もちろん、リー・ウーファン、アイ・ウェイウェイ、パク・ソボといった巨匠達の作品にも刺激を受けています。戦争中の政府による行為が原因で文化的な敵対意識があるとはいえ、アートとはお互いを理解し合い、協力し合い、問題について語り合い、意見を認め合うことができ、アジア人同士のアーチストがお互いを支え合う手段になることを願っています。

Website~/hisham-akira-bharoocha
Instagram
: @softcircle
Soundcloud: ~/soft-circle
Twitter: ~/HishamBharoocha

 

Contributor: Leon Yan


ウェブサイト~/hisham-akira-bharoocha
Instagram
: @softcircle
Soundcloud: ~/soft-circle
Twitter: ~/HishamBharoocha

 

寄稿者: Leon Yan

The World of ARDNEKS

 

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ARDNEKS is the pseudonym of Kendra Ahimsa, a Jakarta-based artist whose psychedelic visual style recreates a curious world of bright bold colors, pop culture, intergalactic deities, and dreamy tropicália. Originally a designer by training, Kendra likes to mix his love of typography, musical subcultures, and Japanese comics with some subtle spiritual themes and the lush colors of tropical Indonesia.


ARDNEKS dalah nama samaran dari Kendra Ahimsa, artis yang berbasis di Jakarta yang gaya psychedelic merayakan dunia yang aneh tentang warna-warna cerah, budaya pop, dewa intergalaksi, dan tropicalia impian. Seorang desainer dengan pelatihan, Kendra mencampur cintanya akan tipografi, subkultur musik, dan komik Jepang dengan warna panas dan spiritualitas berdasarkan Indonesia yang tropis.

Kendra’s studio overlooks a quiet, suburban neighborhood in the sprawling city of Jakarta, where traffic and daily life have been known to be notoriously dangerous. He confesses that he can sometimes just hole up in his studio, put on some music, and draw all day, going wherever the music takes him. This kind of concentration and level of obsessive focus is what has allowed him to spend years painstakingly perfecting his color palette. Using a rare type of colored pencil, which he has been collecting, Kendra colors his images with a particular and highly specific shade of red. The methodic use of color is a distinctive hallmark of his work.


Studio Kendra menghadap lingkungan yang tenang, di pinggiran kota luas Jakarta, di mana lalu lintas dan kehidupan sehari-hari bisa terkenal mengancam. Sebagai seorang seniman, dia bisa mendekam di studio, memasang musik, dan menggambar sepanjang hari, di mana pun musik membawanya. Konsentrasi dan fokus obsesif semacam ini adalah apa yang memungkinkan dia susah payah menghabiskan bertahun-tahun menyempurnakan palet warna nya. Dia menggunakan warna merah tertentu yang berasal dari warna pensil langka yang ia kumpulkan. Sepanjang karya ini, penggunaan warna Kendra jelas merupakan ciri khas.

Music is a prominent aspect of Kendra’s life, and not only is he an accomplished artist, he spearheads one of Jakarta’s most vibrant communities where musicians and visual artists collaborate and perform together. STUDIORAMA sessions is a monthly event that brings audiovisual artists together in freeform sessions, and showcases some of the most promising and unknown acts in Indonesia today. The sense of community, strong turnout, and camaraderie has been an integral part of his work, Kendra says. Although many local artists might end up choosing to move away, the quality work of his fellow artists that remain in Jakarta is one of his main source of inspiration, and also what keeps him motivated to continue working in the city.


Sifat musik mencolok dalam kehidupan Kendra, dan tidak hanya dia seorang seniman ulung, dia ujung tombak salah satu komunitas paling bersemangat Jakarta di mana musisi dan seniman visual yang berkolaborasi dan tampil bersama. Sesi STUDIORAMA dalah acara bulanan yang membawa artis audiovisual bersama dalam sesi bentuk yang unik yang menampilkan beberapa tindakan yang paling menjanjikan dan tidak dikenal di Indonesia saat ini. Rasa komunitas, jumlah pemilih yang kuat, dan kekerabatan merupakan bagian integral dari pekerjaannya, kata Kendra. Banyak yang memilih untuk pergi atau ke luar negeri, tetapi inspirasi dan kualitas tinggi dari sesama seniman di Jakarta merupakan bagian utuh yang membuat dia bekerja di sana.

Under the ARDNEKS moniker, Kendra produces album artwork, band posters, film posters, t-shirts, and digital art for himself and likeminded collaborators. As a self-professed connoisseur of all things trivial, Kendra’s artwork is loaded with minute details. Iconic rock musicians, Japanese typography, Martian landscapes, religious figures, flora and fauna all come together in a fantastical balancing act of organic, handdrawn pop clutter and precise, almost geometric design.


Sebagai ARDNEKS, Kendra menghasilkan karya seni album, poster band, poster film, kaos, dan seni digital untuk dirinya sendiri dan kolaborator pemikiran serupa. Sebagai seorang ahli diri mengaku dari semua hal-hal sepele, karya seni Kendra adalah sarat dengan rincian kecil. Ikon musik, karakter Jepang, tanah Mars, flora, fauna dan tokoh agama dicampur bersama-sama dalam satu keseimbangan fantastis antara kekacauan pop organik dan tepat, desain geometris.

Website: ardneks.com
Facebook: ~/ardneks
Instagram: @ardneks
Soundcloud: ~/ardneks


Websiteardneks.com
Facebook~/ardneks 
Instagram@ardneks
Soundcloud~/ardneks

Contributor, Videographer & Photographer: Jia Li
Additional Images Courtesy of ARDNEKS


Kontributor, Videographer & Fotografer: Jia Li
Gambar Tambahan Courtesy of ARDNEKS

The Cambodian Space Project

 

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The Cambodian Space Project is a psychedelic rock band that was formed in 2009 in Phnom Penh, Cambodia. The core of the group consists of Tasmanian musician Julien Poulson and Cambodian singer Srey Channthy. Their music can be described as a mix of original Khmer psychedelic rock and sounds from the 60s, which are the years many people consider to be the golden age of Cambodian pop music, before the destruction brought forth by the Khmer Rouge. Frontwoman Channthy grew up in the countryside after the Pol Pot years. In order to make ends meet, she left her village to work in rice fields and construction sites, cleaned houses, and finally ended up singing in a karaoke bar, where eventually she would meet Julien Poulson. We talked to Poulson about how their music came about, and the recent documentary about Channthy’s remarkable life.

 


គម្រោងThe Cambodian Space Projectគឺជាក្រុមតន្ត្រីរ៉ុកមួយបង្កើតឡើងក្នុងឆ្នាំ 2009 នៅរាជធានីភ្នំពេញប្រទេសកម្ពុជា។ អ្នកចម្រៀងពិសេសប្រចាំក្រុមនេះមាន តាស់ម៉ានីន ជូលីន ប៉ូលសុន (Tasmanian Julien Poulson) និង អ្នកចម្រៀងកម្ពុជា ឈ្មោះ ស្រី ចន្ធី (Srey Channthy)។ ចម្រៀងរបស់ពួកគេគឺមានលាយតន្ត្រីរ៉ុកខ្មែរ’n’ដុំៗ និងសម្លេងពីទសវត្ស 60 – ជំនាន់អធិរាជសម្លេងមាសនៃតន្ត្រីប៉ុបរបស់កម្ពុជាមុនការសម្លាប់រង្គាលដោយសម័យខ្មែរក្រហម។ ស្ត្រីឈានមុខគេ ចន្ធី បានធំធាត់ឡើងនៅក្នុងតំបន់ជនបទបន្ទាប់ពីសម័យពលពត។ ដើម្បីចញ្ចឹមគ្រួសារ នាងបានចាកចេញពីស្រុកកំណើតទៅរកការងារនានាធ្វើដូចជានៅរោងចក្រអង្ករ, អ្នកជូតផ្ទះ, ការងារសំណង់, ហើយជាងចុងក្រោយទៅច្រៀងនៅបារខារ៉ាអូខេ, ជាកន្លែងដែលនាងបានជួបប៉ូលសុន (Poulson) ដោយចៃដន្យ។ ពួកយើងនិយាយទៅកាន់ប៉ូលសុនអំពីការកើតន្ត្រីឡើងរបស់ពួកគេយ៉ាងណាដែរ, និងភាពយន្តឯកសារថ្មីមួយអំពីជីវិតដែលគួរឱ្យកត់សម្គាល់របស់ ចន្ធី។

 

Neocha: Why did you choose the name “The Cambodian Space Project”?

PoulsonHaving the word “Space” in our name gives us a lot of creative flexibiity. We might not necessarily be playing space rock, but we have plenty of stylistic space to move, morph, and change shape along the creative journey. Also, the notion that there just might have been a covert space project happening deep in the Cambodian jungle is quite fascinating. I also find the tone and inflection of Cambodian female vocals to be shrill, transcendent, and very spacey. Channthy sometimes sounds like an alien singing, she is the perfect space diva to bring that whole amazing cosmic Cambodian catalogue of 1960’s Cambo Rock into the 21st Century. I feel like the name is a fantastic match for the music trip we’re all on.


Neocha: ហេតុអ្វីបានជាអ្នកជ្រើសយកឈ្មោះថា “The Cambodian Space Project”?

Poulson: ការមានពាក្យថា “លំហ” ក្នុងឈ្មោះនេះផ្តល់អត្ថន័យច្រើនដល់យើងអំពីសិល្បៈទាំងអស់ “លំហ” ផ្លាស់ទីជុំវិញដូច្នេះយើងអាចនឹងមិនចាំបាច់ត្រូវលេង “តន្ត្រីរ៉ុកលំហ” ប៉ុន្តែមានរចនាបទជាច្រើនដើម្បីផ្លាស់ប្តូរ, ប្តូរ និងការផ្លាស់ប្តូររូបរាងតាមការធ្វើដំណើរប្រកបដោយគំនិតឆ្នៃប្រឌិត។ ដូចគ្នានេះផងដែរ ការកត់សម្គាល់នេះថាគ្រាន់តែអាចត្រូវមានជាគម្រោងលំហមួយបានកើតឡើងជ្រៅជាសម្ងាត់នៅក្នុងព្រៃកម្ពុជាដែលកំពុងត្រូវបានគេអំពាវនាវ។ ខ្ញុំបានរកឃើញសម្លេង & ការលើកដាក់សម្លេងឡើងចុះដ៏ស្រួចស្រាវរបស់នារីកម្ពុជា , មានភាពវិសេសវិសាល និង “ទូលំទូលាយ” ណាស់…ពេលខ្លះចន្ធីមានសម្លេងច្រៀងដូចជនបរទេស និងជាកំពូលអ្នកចម្រៀងដែលមានសំនៀងទូលំទូលាយគ្រប់ដង្ហើមចេញចូលទាំងស្រុង, អស្ចារ្យ, ដូចអ្នកចម្រៀងកាតាឡុកកម្ពុជានៃក្រុមហ៊ុន Cambo Rock ក្នុងទសវត្ស 1960 – ឈានចូលសតវត្សទី 21។ ឈ្មោះគឺវាល្អសមគ្នានិងសិល្បៈ និងដំណើរក្រុមតន្ត្រីរបស់ពួកយើង។

Neocha: How does Cambodia inspire your sound? Who are your influences as a band? What’s the general feedback from your Cambodian audience in contrast with your audience overseas?

PoulsonThe band began in Phnom Penh simply as an idea to bridge different music cultures and to create a public event that would appeal to both the Khmer and Western audience. We began with a setlist of 60’s Cambodian Rock – songs that are performed by virtually all of the local wedding bands, but have also been made internationally available on Cambodia Rocks reissues. All of the artists from the “Golden Era” are a huge influence, but then so are Western rock groups like The Velvet Underground. Our latest LP Electric Blue Boogaloo is made up of songs that take their influence from Mexican Garage, French Ye Ye, the Dutch group Shocking Blue, Serge Gainsbourg, the 13th Floor Elevators from Texas, and 60’s Italian Freak Beat.

 

 


Neocha: តើប្រទេសកម្ពុជាជម្រុញសំឡេងរបស់អ្នកយ៉ាងដូចម្តេច? តើអ្នកណាមានឥទ្ធិពលលើក្រុមតន្ត្រីរបស់អ្នក? តើអ្វីជាមតិឆ្លើយតបទូទៅពីទស្សនិកជនកម្ពុជាមានភាពផ្ទុយគ្នាទៅនិងទស្សនិកជនរបស់អ្នកនៅបរទេស?

Poulson: ក្រុមតន្ត្រីនេះបានចាប់ផ្តើមនៅក្នុងរាជធានីភ្នំពេញគ្រាន់តែជាស្ពានទៅរកវប្បធម៌តន្ត្រី និងដើម្បីបង្កើតព្រឹត្តិការណ៍សាធារណៈអំពាវនាវចំពោះសមាជិកទាំងពីរដែលជាទស្សនិកជនខ្មែរ និងលោកខាងលិច។ យើងបានចាប់ផ្តើមជាមួយសំណុំចម្រៀងរបស់ក្រុមហ៊ុនរ៉ុកកម្ពុជានាទសវត្ស 60 – បទចម្រៀងស្ទើរតែទាំងអស់ដែលច្រៀងក្នុងបទចម្រៀងនានាស្ទើរតែទាំងអស់ដែលបានច្រៀងជាមង្គលការក្នុងស្រុកត្រូវធ្វើឱ្យប្រើបានឡើងវិញជាអន្តរជាតិ លើក្រុមហ៊ុន Cambodia Rocks។ សិល្បករសិល្បការនី “Golden Era” ទាំងអស់ជាអ្នកមានឥទ្ធិពលខ្លាំង ប៉ុន្តែបន្ទាប់មកជាក្រុមរ៉ុកសិល្បៈលោកខាងលិចដូចជាក្រុម Velvet Underground ជាដើម។ LP Electric Blue Boogaloo ចុងក្រោយរបស់ពួកយើងត្រូវបានតាក់តែងជាចម្រៀងដែលយកឥទ្ធិពលរបស់ពួកគេពីតារាចម្រៀងដូចជា Mexican Garage, French Ye Ye, Dutch group Shocking Blue, Serge Gainsbourg, Texan 13th Floor Elevators, និង ក្រុម Italian Freak Beat នាទសវត្ស 60។

Take a listen to some of our favorite tracks from The Cambodian Space Project:

 

The Cambodian Space Project – Denim Lover

The Cambodian Space Project – Laisses Tomber Les Filles

The Cambodian Space Project – Woman Wants to Drink

The Cambodian Space Project – The Boat


ស្ដាប់បទចម្រៀងជ្រើសរើសរបស់យើងខ្ញុំមួយចំនួនពី ដឹខេមបូឌា ស្ពេស ប្រូជេក:

 

The Cambodian Space Project – Denim Lover

The Cambodian Space Project – Laisses Tomber Les Filles

The Cambodian Space Project – Woman Wants to Drink

The Cambodian Space Project – The Boat

NeochaHow did the documentary come about? Tell us about the process of making it, and what has been the reception so far? 

PoulsonI was first in Cambodia thinking I would make a music documentary, not form a band. I started doing this, and along the way, met two people who would turn out to be very important to the documentary story: Marc Eberle, who took over the making of Not Easy Rock’n’Rolland Channthy, whose character is just the right balance of truth, fiction, and fantasy to make the whole thing a story worth telling.


Neocha: តើឯកសារនេះបង្កើតឡើងដូចម្តេច? ប្រាប់ពួកយើងពីដំណើរការបង្កើតវាបានទេ, និងអ្វីដែលត្រូវបានគេទទួលស្វាគមន៍មកទល់ពេលនេះ?

ប៉ូលសុន: កាលដែលខ្ញុំនៅកម្ពុជាលើកដំបូងខ្ញុំគិតថាអាចធ្វើបានតែឯកសារតន្ត្រី មិនមែនបង្កើតក្រុមទេ។ ខ្ញុំចាប់ផ្តើមធ្វើនេះនិងនៅតាមផ្លូវបានជួបមនុស្សពីរនាក់ដែលក្លាយទៅជាមានសារៈសំខាន់ណាស់ចំពោះរឿងភាពយន្តឯកសារ: Marc Eberle ដែលជាអ្នកមើលការខុសត្រូវ និងជានាយកក្នុងការបង្កើតភាពយន្ត “Not Easy Rock’n’Roll”ហើយចន្ធីដែលជាតួរអង្គប្រកបដោយតុល្យភាពនៃសេចក្តីពិត, ប្រឌិត និងទាក់ទាញដើម្បីធ្វើឱ្យមានតម្លៃក្នុងការប្រាប់ពីសាច់រឿងទាំងមូល។

Neocha: What are you working on now and what are you looking forward to in the future? Any new projects or upcoming shows?

Poulson: We’re currently staging a music theatre called Cosmic Cambodia that also explores Channthy’s story both on and off the stage, and at the same time it’s being developed into a rock opera that we’re calling Hanuman Spaceman, which is a collaboration with Brazilian-Australian director Carlos Gomes and producer Harley Stumm of Intimate Spectacle. Channthy and I will be looking at ideas for new songs and we will see where these ideas take our band in 2016 and beyond.


Neocha: តើពេលនេះអ្នកកំពុងធ្វើការលើអ្វី ហើយអ្វីដែលអ្នកសម្លឹងថាឆ្ពោះទៅរកនាពេលអនាគត់? តើនៅមានគម្រោងថ្មី ឬ ការប្រគុំក្នុងពេលខាងមុខណាទៀតទេ?

Poulson: ថ្មីៗនេះពួកយើងកំពុងបង្កើតភាពយន្តតន្ត្រីដែលហៅថា”Cosmic Cambodia”ដែលឆ្លុះបញ្ចាំងពីប្រវត្តិរឿងរបស់ ចន្ធី ក្នុងនិងក្រៅឆាក ហើយកំពុងត្រូវបានអភិវឌ្ឍដូចជាល្ខោនអូបេរ៉ា ពួកយើងហៅថា”Hanuman Spaceman”។ វាបង្ហាញថាជាកិច្ចសហការជាមួយលោកនាយក ប្រេស៊ីល អូស្ត្រាលី លោក Carlos Gomes និងផលិតករលោក Harley Stumm នៃ”Intimate Spectacle”។ ចន្ធី និងខ្ញុំនឹងកំពុងស្វែងរកគំនិតសម្រាប់បទចម្រៀងថ្មី ហើយងនឹងស្វែងរកទីកន្លែងសម្រាប់គំនិតទាំងនេះចាប់ផ្តើម CSP ក្នុងឆ្នាំ 2016 និងលើសពីនោះ។

Neocha: How did you all meet and fall into the groove of making music together? How did Srey Channthy first react when you all started playing together?

Poulson: At first, it was just me on an acoustic guitar accompanying Srey Channthy at a bar called The Alley Cat. We knew about three or four songs reasonably well and played these songs three to four times during that first night. The bar started filling up and by the end of the night we had a whole band of musicians jamming along with various instruments. I think Channthy was certainly surprised, she was probably a bit nervous at first before the show. She burst into tears at another show earlier in our career. She was so emotional because of the very enthusiastic reaction from an audience made up from both Cambodian and Westerners who applauded by yelling out and clapping, which is something Cambodian audiences just don’t do. Instead, they dance. Since this humble beginning, as a frontwoman, the bigger the shows, the higher Channthy flies. Thankfully, the rest of us have all been blessed with the experience of flying along with Channthy. The band has now performed hundreds of shows around the world, from remote Cambodian villages to major festivals in over 20 countries. Once, we played a jail in outback Australia, while another odd but memorable venue was at an elephant’s 50th birthday party.


Neocha: តើអ្នកទាំងអស់គ្នាបានជួប និងចូលច្រៀងតន្ត្រីរួមគ្នាយ៉ាងណា –​តើស្រីធីមានប្រតិកម្មលើកដំបូងយ៉ាងដូចម្តេចពេលអ្នកទាំងអស់ចាប់ផ្តើមលេងជាមួយគ្នា?

Poulson: ដំបូងខ្ញុំគ្រាន់តែជាអ្នកលេងហ្គីតាសូរស័ព្ទអមស្រីចន្ធីនៅបារមួយដែលគេហៅឈ្មោះថា អាលី ខែត (Alley Cat)។ យើងបានដឹងថាប្រហែលបីឬបួនបទចម្រៀងនិងលេងបានយ៉ាងល្អដោយសមហេតុផលទាំងនេះជាចម្រៀង 3-4 បទក្នុងអំឡុងពេលយប់ដំបូង។ នៅក្នុងបារតាំងពីចាប់ផ្តើម ដល់ចុងបញ្ចប់ពេលយប់ ពួកយើងនិងក្រុមតន្ត្រីទាំងមូលកាន់យកឧបករណ៍ផ្សេងៗ ហើយចាកចេញទៅ។ ខ្ញុំគិតថាចន្ធីប្រាកដជាមានការភ្ញាក់ផ្អើល ហើយប្រហែលជាសង្ស័យអីផ្សេងៗចំពោះការច្រៀងលោកដំបូងនេះ។ នាងយំសស្រាក់នៅមុនពេលច្រៀងក្នុងការប្រគុំផ្សេងៗទៀត។ នាងរំជួលចិត្តដូច្នេះដោយសារតែប្រតិកម្មសាទរយ៉ាងខ្លាំងពីទស្សនិកជនទាំងពីរបស្ចិមប្រទេស និងកម្ពុជាដែលបានសាទរដោយការស្រែកចេញនិងទះដៃ – ជាអ្វីដែលទស្សនិកជននៅកម្ពុជាមិនបានធ្វើ។ បន្ទាប់មក ពួកគេរាំ។ ចាប់តាំងពីចិត្តរាបទាបនេះចាប់ផ្តើម, ក៏ដូចជាស្រ្តីឈានមុខ, ជាការបង្ហាញធំ, ចន្ធីមានប្រជាប្រិយភាពខ្ពស់, និងដោយអំណរគុណ….អ្នកផ្សេងទៀតនៃពួកយើងត្រូវបានសរសើរដែលប្រកបដោយប្រជាប្រិយភាពជាមួយចន្ធី។ ពេលនេះក្រុមត្រូវបានដើរប្រគុំរាប់រយជុំវិញពិភពលោក ពីបណ្តាភូមិនៅប្រទេសកម្ពុជាឆ្ពោះទៅរកពិធីបុណ្យធំជាង 20 ប្រទេស។ មានម្តងនោះ ពួកយើងបានលេងនៅជិតពន្ធនាគារក្នុងតំបន់ដាចស្រយ៉ាលមួយនៅប្រទេសអូស្ត្រាលី ខណៈពេលដែលមិនមានតន្ត្រីនៅឡើយប៉ុន្តែតាមដែលចាំបានខ្លះៗគឺនៅក្នុងពីធីបុណ្យគំរប់ខួបលើកទី 50 របស់ដំរី។

Websitecambodianspaceproject.org
Facebook: ~/The-Cambodian-Space-Project
Soundcloud
: @thecambodianspaceproject

 

Contributor: Jia Li 
Photos & Video Courtesy of The Cambodian Space Project, Marc Eberle, Richard Kuipers, Rob Winter


Websitecambodianspaceproject.org
Facebook: ~/The-Cambodian-Space-Project
Soundcloud
: @thecambodianspaceproject

 

អ្នកជំនួយ: Jia Li 
មានការអនុញ្ញាតពី រូបថត & វីដេអូដោយ:
គម្រោង The Cambodian Space, Marc Eberle, Richard Kuiper, Rob Winter