Soundtrack To A Book: Concave Scream Interview

Singapore indie rock veterans Concave Scream released their 5th album Soundtrack For A Book with a new line-up. Stalwarts like singers and guitarists Sean Lam and Pann Lim and drummer Dean Aziz are still around while the band added bassist Farizwan Fajari to the lineup. Since our last chat in 2006, the quartet shares with us their thoughts on their latest release, the technology behind their revamped website and their families and children.

By Willy Tan

Photo by Concave Scream

It’s been a long wait since your last album Horizons but thankfully, not as long between Three and Horizons. Was the working process much easier this time round?

Pann: The working process is, in fact, different from all of our previous albums, and I feel every album has its own challenge. So to me no album was easier than the other; it’s just a different experience every time. Before we started writing for the album, we had the idea of [segueing] all the tracks into one long track. So when we moved along composing the tracks, we kept in mind when to end and how we want to start the music for each track.

Sean: For me, the process was challenging as I was to assume a new role. Being more songwriter based, I was worried about not being able to deliver the goods. I’ve never really concentrated fully on rhythm, riffs and guitar work before and I was not confident about my guitar skills. Haha. I had issues with remembering parts in the beginning but thankfully, with the support from the band, I found it to be a very enriching process. Personally, I had a lot of fun trying to express my feelings through the guitar instead of vocals. With Soundtrack For A Book, I imagined the guitar to be my voice. It worked out so well for me that I’m thinking of doing more instrumental stuff in the future.

A burning question which most fans were thinking of is: “Why an instrumental album?” We love Sean’s vocals and the vocal harmonies which is a signature sound for Concave Scream.

Pann: To be honest, we did factor in that fans will actually be disappointed to know that Sean’s not singing for this album. But when we were writing the album, it felt ‘right’ and ‘appropriate’ to leave out the vocals to create the feel and vibe we were looking for. Moreover, I will be in my late thirties soon. I am not sure how long I or we can do this with my kids growing up so quickly. Of course, I wish to do this as long as I can. If you noticed, we have always done instrumental track in all our albums. But we have not written a full album of it, and I was thinking, “Why not?” With this album completed, I find that it could be a platform for us to explore something different for the next album.

Sean: We felt change is good. It keeps us excited and encourages creativity. We know choosing this approach may seem drastic to some, but we kept it as part of the brief to keep the signature sound intact. If it’s instrumental, it still has to retain the flavour of Concave Scream.

Did you guys have to readjust yourselves to playing instrumental tunes? Was it a different sense of freedom?

Pann: In fact, I find it less stressful without having to harmonize. Just focus on what I play and enjoy the journey! Yes, it’s freedom!

Sean: It was, for sure, a breath of fresh air. A lot of exchange of ideas took place while we worked on this album. The mindset and approach was different from when we were working on our previous albums but it wasn’t that much of a readjustment because it felt good.

Farizwan is part of the long line of bassists whom you have worked with. How did he become part of the picture and why did you guys choose him?

Dean: I’d known Wan through this small scene for quite some time, even before he joined us. It was hard to not take notice of his talent and capabilities. So after (the band’s 4th album) Horizons, Wan came as a natural option for me. When we finally got round to speaking to him about possibilities of joining us, he was just as enthusiastic.

Farizwan: This is no secret. I’ve always been a huge fan of the band and am honoured to have been asked to join.

Pann: What I liked about Wan is he plays with the band and not for the band. He has become part of the music and he has become part of the Concave Scream family.

Sean: Wan may be the youngest in this group of uncles, but he really is an old face in the scene. It’s true that in our many years together as a band, there had been quite a few changes to our bass lineup, but it’s all circumstantial. I’m just glad and honored to have Wan with us. His creative input has contributed much to our music and I look forward to more fantastic journeys and exploration with this current line up.

I understand that the band has always operated on a ‘one-band’ policy where members of the band are usually discouraged to play in other bands to concentrate on Concave Scream. Farizwan seems to be the exception to the rule.

Pann: I am not sure about this one band policy that you heard about. It could be a super long ago thing that anyone might have said, but I do not recall it. As for now, I am more than happy and will encourage anyone who has passion to pursue other interests. Go for it! Time is running out.

Dean: Don’t think we ever had such a policy. I’ve helped out with (experimental act) The Observatory on drums and some vocals with (defunct fusion-jazz act) Throb’s debut album during my time in Concave.

Sean: I don’t recall that as well. Dean was sessioning with The Obs and Throb. I helped out (The Observatory’s frontman) Leslie (Low) with a Humpback Oak gig many years ago.

Farizwan: The guys have always been so supportive of my involvement with the other bands. There has never been a time where I felt uncomfortable enough to not tell them that I will be having a show or when I have a recording session with Sparkle or Castles. So it’s safe to say that the rule doesn’t apply to the band at all. But just for the record, I love playing for Concave Scream and I do regard it as my priority.

Farizwan also plays with other diverse acts like the post-rock quartet I Am David Sparkle and hardcore act Castles. How do you feel that you are playing in a version of Concave Scream which is dishing out mainly instrumental tunes?

Farizwan: I personally don’t think that the instrumental version of Concave Scream is any different from Concave Scream with vocals. So I’ve never really thought about it. Really. It’s safe to say that the band has always tried to put out and write good music. But good music has always been subjective. I am just pretty thankful that the guys have always been so open to my ideas and inputs and they are such fun people to be around with.

With the new album being one without vocals, it just goes to show how the band has always tried to progress and how willing they are to do something that is out of their own comfort zones. And that’s why I feel so much at home when we’re in the studio, rehearsing the old and new material.

You guys have always worked with Phillip Wong of Boss Studios for the past 3 albums. Is there a special connection as to why the band has been working with him constantly over the years?

Pann: Philip has engineered and co-produced for all Concave Scream albums. Why so? Because we feel comfortable with him, we enjoy chatting with him, we are happy to hear his advice on our stuff. And to me, he has also become part of the Concave Scream family.

Dean: I find that he’s a very easy person to work with, and I also value his input.

Sean: He is a great guy to work with and very dedicated to his craft. You know you are ‘taken care of’ when you work with him.

Much has been said about the distinct packaging of Soundtrack For A Book. How did you guys decide on presenting the album on such a unique format?

Pann: Frankly, I am not sure how to explain the process of coming out with the idea of drilling a hole in the book and securing it with a bolt and wing nut. It’s just an idea that connected to me when I was doodling on my moleskin, the design and look of the album packaging just felt fresh and appropriate. To me, it’s more than a book or CD now; it has become a collectible object.

Sean: Pann came up with the packaging idea. We all loved it very much. Especially the idea of recycling and giving an old book a new lease of life to be cherished. It’s also nostalgically cool. Everyone wants the Enid Blytons! It has definitely helped in getting people excited about our new offering.

I love how the new website looks. You could even register the copy of the album on it as well. From the packaging to the website, the experience of owning the album is so greatly enhanced. You guys won some accolades for the website. Tell us a bit about the idea behind it.

Sean: Pann came up with our packaging idea using used books. It has a very old school analogue charm. I thought it would be interesting if we could somehow make it work in a digital environment without the need to go retro in terms of look and feel. So, I thought the best way to tie-in the concept online was to play up on feelings instead. The feeling of owning something special, to be specific. Also, because our album is titled Soundtrack For A Book, I wanted the ‘books’ to speak the music.

This is the techie bit. Whilst researching for different forms of sound visualization methods, I came across a particle engine tutorial created by Dan Gries. It was perfect for the website; the source also had custom classes in place that can be adapted for more creative exploration.

With the help of a colleague from Kinetic (an interactive agency where most of the band hold their day jobs), Jingzhong, and Dan’s approval, we added sound reaction to it, z depth control via mouse, an interface that allows users to customize the ‘look’ of their book by controlling different values such as spread, zoom, sampling etc as well as a record and playback function. With all these parameters in place, we were then able to give visitors that unique experience, both aurally and visually.

Like you’ve mentioned, most of the guys are already fathers. It was pretty cute to see your kids running around when you were playing a recent show. Do the kids approve of their dads rocking it out once in a while? Would you avoid the rock cliché by banning your daughters from picking up the bass?

Sean: My daughter has only seen us perform once. Although she generally does not like loud noises, she didn’t complain on that night, so I guess she’s ok with it. I’m not familiar with that rock cliché but she will have my support if she decides to learn music or any other hobby that makes her happy for that matter.

Pann: My kids are more than happy with me playing in a band. In fact, I always play the “ABC” song with the kids with guitar on distortion and they love head banging to it! I am also more than okay if they want to start a band, as long as there’s no drugs involved.

Dean: If anything, my kids always grumble about not being able to be next to my floor tom or cymbals while I’m playing. My boy frowns every time I tell him I gotta go for a jam or shows and he’s got to hold the fort and take care of the girls… but I don’t think it’s ’bout me going to “rock it out” lah… He’s just 2. I think it’s probably ’cause got no one to give him the “Superman-and-do-the-funky-chicken/ James Brown” dance for his amusement kind.

I’ll never have a problem with letting them pick up an instrument or instruments of their choice. I’d be really happy, supportive and proud, actually… Just as long as they’re having a good time doing it. So girl, boy, bass and all, I’m okay lah.

Concave Scream’s Soundtrack For A Book is out now at all good music stores or you can order through them at www.concavescream.com.