SXSWorld
Issue link: https://sxsw.uberflip.com/i/81862
Beyond Karaoke: Asian Bands Target Global Audiences by Barbara Mitchell revolution, although this time it is a musical one. Once known only for creating the type of music that songwriter/ A producer Skot Suyama refers to as "karaoke pop," this year these countries are making a sig- nifi cant showing at SXSW with acts that range from post-rock to pop-punk, acoustic-folk to shoegaze and uniquely regional hybrids of music from east and west. Suyama, who was born and raised in Seattle, studied at the Musician's Institute in Los Angeles and has been based in Taiwan for seven years (where he has written and produced songs for some of that country's biggest artists), explains: "Right now the world is so connected with YouTube and everything, and these young Taiwanese kids— it's very easy for them to grow up listening to the Yeah Yeah Yeahs, even though the Yeah Yeah Yeahs have never been here." It only takes a cursory listen to acts like Zsa & Clare, Tizzy Bac, Apollo 18, Sugar Plum Ferry, Wonfu, Go Chic, Hugo, Unfamiliar Friends Party, Cambodian Space Project, Th e White Eyes and Aphasia to feel the eff ects of the Internet's glo- balization powers. Th ey may not be household names, but these exciting and vibrant scenes in their home countries that the rest of the world is starting to pay attention to. "Essentially the music scene in Southeast Asia is more sophisticated and more diverse than ever, and many musicians are rising to the chal- lenge— producing world-class music and getting it out there," says Julien Poulson, guitarist for the Cambodian Space Project, based in Phnom Penh, Camdodia's capital and largest city. "It's kind of (like) many things happened and got together, just like many small streams become a big river," says Wonfu guitarist/vocalist XiaoMin, talking about why the region seems to be such a hotbed for creativity. He cites the Taiwanese government's subsidization of indie albums and overseas touring as a gigantic boost, along with the fact that more young people are listening to diff erent musical styles. He also refers to the Golden Melody Award (the Taiwanese equivalent of the acts signal vital 34 SXSW ORLD / M ARCH M USIC 201 1 s the recent events in Egypt have proven, the Internet can be a powerful force. In Pacifi c Rim countries like South Korea, Taiwan, China and Singapore, the Internet has spawned its own Grammy), which has brought new music to the attention of pop lovers in Taiwan. "It seems everything about art and music is getting closer to everyone. And everyone is willing to get closer to art and music, too." From the downright perky indie pop of his band Wonfu to the Khmer-pop of Cambodian Space Project, the epic rock of South Korea's Apollo 18, the party- friendly electro-pop of Go Chic, the cinematic soundscapes of Sugar Plum Ferry or the eerie blues of Th ailand's Hugo, it is clear that something is going on. And that something is excited to be coming to SXSW, for many reasons. "Korea is a very small play- Go Chic ground for musicians," says Apollo 18 bassist Daeinn Kim. "We want to go to another playground. We want a much bigger playground! We want to learn more about international touring and the music industry, so we thought SXSW would be a good place to start. We also want to meet musicians and people from many other countries so that we can learn about their culture. I think SXSW will be a good place to do this. We want to play to new audiences. We want to meet musicians from other countries, music fans, and maybe some music industry staff . Th is is our fi rst time going to America and to SXSW. We are excited to experience every- thing. I think we will learn a lot by going there." Apollo 18 and technology," says Th omas De from Taiwan's Th e Wall Music/Uloud Music, which acts a management company and booking agent for Sugar Plum Ferry, Fire EX, Orange Grass and Th e White Eyes. "Most importantly, we want to introduce more people to Taiwan's music, and we hope to exchange ideas and thoughts with professionals from all over the world. For its interactive aspects outside of simple performances, we really see SXSW as one of the world's most important exhibitions for indie music." For Apollo 18's Kim, however, the allure of Austin is much simpler. "We heard Texas food is very big, so we really want to try it!" he says. ■ festival but also a magnifi cent summit for culture, art, media "SXSW is not only a music For showcase information, check out SXSW.com or get SXSW GO, the SXSW2011 mobile app, at sxsw.com/mobile.