Into the abyss

I’m an old basketball junkie and although my playing days are well behind me, I continue to see the beauty in it. In basketball you have five starters. On the court, they need to get along, be unselfish, cooperate and acknowledge they are part of something bigger than themselves. When the game is over, they can get along or not; it doesn’t matter. These are referred to as one-taxi teams or five-taxi teams. My question to you is does the same principle apply to bands? Is it necessary to get along with each other after you finish playing or can you play well on stage then go your separate ways? 

I’ve been a professional musician a number of times in this rather twisted life of mine: the early ’80s were spent playing with cult Australian band The Bachelors from Prague, which was without doubt five different cabs combined with the folly of egotistical youth. Great band, but we split when one half wanted to go Tijuana Brass while I was along the lines of that gentleman deviant Chet Baker (I played trumpet and guitar). The split could be slightly compared to the current state of Thai politics insofar that friendships were certainly shattered (not all), however a violent breakup it wasn’t.

Now Krom, that’s a very different story. Nearing 60 years of age, I’m now working in the most professional band I have ever worked with. In one way very much a one-taxi band: tight, well rehearsed, disciplined, cohesive and very professional. However, there are some very interesting points that create our signature sound. It’s also important to note that both Sophea Chamroeun (co-founder /songwriter and lead vocals) and Sopheak Chamroeun (lead vocals) have studied Cambodian traditional dance and music under the best of masters since they were 12 through the Cambodian Living Arts programme, plus are recent graduates of the Royal University of Fine Arts and have a very professional approach to their work with Krom. Can’t forget my good friend and musical colleague: multi-instrumentalist Jimmy B, who’s the fourth member of Krom and understands my music better than most.

And how would you characterise Krom, on and off stage?
I have a deep love and respect for Khmer music; therefore, out of respect, I would never dare tamper with this remarkable music created by Cambodians. That said, Krom is and always will be a Phnom Penh-based bilingual band (Khmer and English) playing original compositions. The key to the original music of Krom is the following formula, which isn’t easy to do as a composer because you have to have your ego under control to allow this to happen with your compositions.

What I do is record the guitar foundations of a Krom song, put it on a memory stick and then hand it to Sophea without saying a word or even humming a suggested melody riff (this is where one puts the ego in a box and closes the lid). Sophea goes away and totally on her own creates the Khmer lyrics and vocal melody without any influence whatsoever from me. She has never ever let Krom down in this regard and I am always so surprised at what sounds she builds around the delta blues picking of my guitar work and compositions. I use the same principle of respect with our Khmer producer, Sarin Chhuon, who then adds his own unique Khmer interpretation of the master tapes. At the end you have the rather unique signature sound that is Krom.

I should also mention the social issues that Krom touches on within many of the lyrics with a focus on the ongoing tragedy of sexual slavery which is prolific in Southeast Asia, nurtured and developed as a major industry by the very corrupt ruling elites of the Southeast Asian nations who are willing, as I sing in Tango Traffic Tango, ‘to sell their daughters’. That’s the harsh, brutal and mostly denied truth about these societies and it needs to be sung about.

Sophea and Sopheak, in their own way, are very courageous individuals and represent the first wave of, dare I say, protest singers or singers of songs of social justice to come out of Cambodia – an interesting development indeed. Something also of great

relevance is the ongoing Noir-related themes (our debut 2012 album is suitably titled Songs From The Noir). Having led a rather Noir life – there are dark sides to the Minko story that should remain unspoken (Ah ain’t no saint) – all Krom lyrics are very personal and there is a true and often very dark story or seven within our songs. I should also acknowledge Bangkok-based Noir author Christopher G Moore and our friendship, which has resulted in me using words from his novels in The Ying and other songs.

My wife, who came from Thailand and was the mother of my now 20-year-old daughter, passed away three years ago. As a result of her death and the associated personal grief, I returned to my musical roots. Out of something so sad, the passing of a remarkable woman from Bangkok, came Krom – a unique legacy. For many personal, historical and other reasons, I would love to see Krom perform in Bangkok. Many of our songs emanate from this truly remarkable city and we are honoured that Moore has already agreed to MC our debut when we get there.

Your songs are the antithesis of pop because what you write about – the horrors of child sexual exploitation and human and social injustices – are not popular subjects, but they need to be. Why is it important for you to sing about these social injustices?

Firstly, fact: human slavery (labour, sex and other) is at its highest point ever in the history of humanity. That’s a fucking tragedy. Some of this I attribute to the horror of unbridled capitalism, particularly since the collapse of communism, whereby we now have a world dominated by greed and selfishness, an ever-widening gap between the rich and the poor (which allows even greater exploitation) and power elites addicted to the worst traits of ego-driven madness found in humanity

The sex industry: nearly everyone sidesteps the issue. They smile about it, joke about it, participate in it and waltz around it, but the blunt truth is this is an industry built on the sale of human flesh as an object of sexuality, with exceptionally high profit margins and a high turnover of deaths as the women spiral into dependency on drugs and alcohol to numb the sale of their bodies over and over to ageing men. Let me give you an example: CNN’s well-meant but naïve Anti Human Slavery campaign in Thailand focuses on sensationalism, usually through a filmed ‘brothel bust’ which involves a celebrity. Despite good intentions, CNN fails to point the finger where it needs to be pointed: at the ruling elites of the Southeast Asian nations that have allowed the sex industry to flourish for cold, hard profit.

Why doesn’t CNN point the finger as it should? Easy: in the case of Thailand, the national airline spends millions on advertising so CNN doesn’t want to upset them or the ruling elite who own Thai International. It’s all interconnected, this worldwide billion-dollar industry: airlines, hotel chains, tourism, all complicit in human trafficking. Huge profits are reaped by an elite few, despite the misery imposed on women who are nothing more than sex slaves and usually subservient to a nasty pimp controlling them through a volatile mixture of drugs, alcohol and violence. I’m not saying here that hotel chains, etc, are directly implicated in the sex trade, but they are indirect beneficiaries (and those hotels in the ‘right locations’ know exactly what their clients are up to).

However, the real tragedy is how mainstream and integrated into society prostitution has become in many Southeast Asian nations over the past five decades (I have watched the many changes in Bangkok since I first arrived there in 1972). It’s an industry that flourished during the Vietnam war and was recognised by the ruling masters as a viable and very profitable commercial enterprise. The commercial benefits of a foreign clientele needing to purchase sex were recognised and a subsequent hospitality industry purposefully built around catering for the ‘sex tourist’ was supported at the highest levels. It’s publicly recognised that this now provides a significant percentage of Cambodian and Thai GDP.

No matter how mainstream or accepted this trade has become, behind the scenes it remains a brutal world of young women and girls entrapped, enslaved or even kidnapped into a criminal machine that needs to be fed with young stock to satisfy the appetite for commercial sexual services. This is why I changed the final words of the lyrics in Down Sukumvit Road from ‘I’m walking down Sukumvit Road’ (singular) to ‘We are all walking down Sukumvit Road’ (plural): truth is we are all walking down these roads as we allow sexual enslavement to exist. As I sing in Tango Traffic Tango, these nations willingly sell their daughters into the sex industry; nations not yet mature enough to confront the tragedy they impose on their own people.

So many observe the Noir, but how many live the Noir? How many can truly acknowledge the brutal reality that 98% of these women do not want to participate in this trade but have no other choice due to poverty and very often family pressure? Look at the numerous deluded old white boys in their 60s on a Viagra overdose, drinking morning beer with a scraggy 16-year-old girl hanging on their wrinkled arm. It says it all in its obvious brutality and I want these deluded old fools to hear Krom’s songs in order to make them feel as uncomfortable as they should feel. I can’t deny a morbid philosophical fascination with this exercise in nihilism, involving that most sacred of human entities we call ‘love’. Here we find lonely, pathetic, ancient men looking to purchase romantic love in much younger Asian women yet this love is an unattainable objective: the very women they court are no longer capable of love because the brutality of endlessly selling one’s body destroys the ability to genuinely love – a bitter irony, yet thousands of misguided fools each year embark on this fruitless and tragic journey. The blunt truth is that Krom’s songs need to be sung and heard. The more we speak out about these injustices, the better – in a world that’s gone stark raving mad.

What good has come from your work and what more needs to be done?
I have devoted a lifetime to the cause of social justice and will continue to do so. I just try to do my best with my music and hopefully achieve some good things in a rather complex world; acknowledging life’s horrors and beauties are so intermingled as to be beyond all understanding.

In finishing I give you an example that negates many of the bullshit arguments supporting prostitution and the sex trade. Look at Sophea and Sopheak, Krom’s vocalists, who are a brilliant example of what can happen when a 12-year-old girl is given educational opportunity rather than being steered towards commercial sexual exploitation. Both grew up in one of Phnom Penh’s most notorious drug and prostitution quarters, the legendary White Building, yet they managed to avoid the horrors that surrounded them by becoming pupils of Cambodian Living Arts. Now, at the ages of 22 and 23, they are fast becoming internationally recognised music stars. What I’m saying here is that every girl deserves an education and chances are they will go on to lead productive lives as contributing members of their respective communities.

Songs From The Noir and Neon Dark, by Krom, are available now on iTunes, CD Baby, Amazon and Spotify.

 

Paint it black

Celebrated noir author Christopher G Moore examines the dark lyrical content of Krom, whose Neon Dark was recently declared Best Album of 2013 by BBC broadcaster Mark Coles
…..

AT THE BEGINNING OF THIS essay I’d like to divulge that I neither play any musical instrument nor can I read music. It would be rather like reading a book review by a ‘book’ critic who was illiterate but had someone read the book to him.

Those are surely limitations worth keeping in mind as I explore the music of Krom.

As editor of last year’s Phnom Penh Noir anthology, I selected the lyrics written by Christopher Minko for Krom as a contribution. Minko’s lyrics use a subtle mixture of Khmer and English. Songs From The Noir, the band’s first album, conveys the dangers, preoccupations and injustices of a society seeking to recover from the genocide of the Khmer Rouge. The lyrics in Ying, Phnom Penh and Tango Traffic ring true as pure cries from the heart. Christopher Minko and Krom continue the ancient tradition of ballad singers. They are part of the tradition of creative artists who travelled from village to village, bringing along musical instruments and telling stories through their songs. Songs From The Noir and the most recent album, Neon Dark, are evocative folk tales as black as night.

Sophea Chamroeun’s voice rings clean, liquid and clear like a troubadour. Christopher Minko’s voice, with its haunting, masculine, deep, throaty husk, is elegant with a soulful depth that follows us into our dreams. Minko’s guitar picking has the precision and timing of a well-placed knife blade. He conveys with the instrument and his lyrics an emotionality that at times can be overwhelming. Minko’s lyrics dance around the sound of his guitar like moths darting near an open flame. Krom was born out of a huge desire to tell a string of stories that feature alienation, regret, despair and hardship.
Krom will be a new name in the music business for many. To understand why it’s an important group, at the right moment in the artistic development occurring in Southeast Asia, requires some context, both in Asia and internationally.

Listening to Krom is to evoke a similar experience to great poetry and literature. Each generation of musicians seeks to express what it means to be living now, the nature of our feelings, and our sense of clench-fisted rage. Dylan Thomas’ Under Milkwood has two lines that describe Krom: “Do not go gentle into that good night”, and “Rage, rage against the dying of the light.” A sense of terror lurks in Christopher Minko’s lyrics. His words coil like a cobra around our most ancient of fears: that of annihilation of selfhood by forces larger than oneself, forces that can’t be contained or restrained.

One example of the powerful lyrics which take a moral, social position is found in She’s 7 Years Old, from the first album: a ballad to expose the evil of sexual abuse against children.

Hush little baby, don’t you cry

Hush little baby, don’t you cry

Yeah – It’s so bad

So very, very sad

In a world where humanity

Has gone stark raving mad

Yeah – It’s so bads

So very, very sad

In a world where humanity

Has gone stark raving mad

Hush little baby, don’t you cry

Hush little baby, don’t you cry

Hush little baby, don’t you cry

Hush little baby, don’t you cry 

Hush little baby, don’t you cry

Hush little baby, don’t you cry

She’s 7 Years Old is a lullaby from the dark underbelly of a world that most people are only vaguely aware exists. Most people living in developed countries are shielded in their tidy lives and filters remove the nasty content that may be disturbing and complex. Into these sheltered lives comes Krom like a dragon, breathing fire and circling them, showing exposed talons. See, this is the world outside of your home, office, club, church and neighbourhood. Krom makes it difficult for those who live at a distance – deep inside a safety belt, protected and smug – to turn away from the fact that there are places where children have few protections from predators.

The lyrics have an undertow of violence. The desire to hush the cries of a child, to save the child from the terrors of a world gone mad, suggests the uselessness of tears and the helplessness of those wishing to protect the child.

The next example is of how sexual exploitation has been turned into a commodity in the tourist industry. Market forces create a category of labour in the sex industry.  Sex workers are the labour component in a commercial transaction where there is an unequal power relationship with the buyer. There is only one direction for the career trajectory and that is down. Down Sukhumvit Road, on Neon Dark, captures the treadmill of a street walker down a road in Bangkok that is a magnet for foreign residents and tourists. The Sisyphus-like nature of their daily routine strips away the pleasure of these sexual encounters and substitutes it with a mindlessness and hopelessness of the activity. Hookers are condemned to roll the stone up the mountain every day on Sukhumvit Road. Greed and violence have a long history as inseparable bunkmates who use each other. Evidence of their handiwork is found in the mugging of our most vulnerable innocents, creating the fire in the lyrics of Down Sukhumvit Road and making Minko’s voice boil. His lyrics define a territory of physical and physic violence and he takes you down that road.

But you won’t find salvation

On Sukumvit Road

Just eternal damnation

Come into the fold

Yeah so many stories, they remain untold

‘Cause truth is we’re all walkin’

Down Sukumvit Road

Yeah, where many, yeah many a body has been sold

Yeah we’re all walkin’, all walkin’ down Sukumvit Road

Where many a body has been sold

Yeah that’s life in Sukumvit Road

The lyrics of prostitution slam home the nature of inhumanity and the price paid in terms of family, self-respect and innocence. Instead what reverberates in Tango Traffic Tango is the inescapable cycle of exploitation, where third-world families become breeding stations to satisfy the sexual appetites and needs of men. There is no god, no authority, no institution with the resources, mandate or inclination to end the sexual servitude of poor women and girls, as well as boys. Like cattle they will be sold at markets, where buyers, as during the plantation days, have few restraints to purchase the life of another. Whether it was for an hour or a lifetime, the effect was to rob the purchased person of their place as an equal. The loss of innocence is the realisation that such a person is nothing more than meat and they have been born into a world with a heavy appetite for flesh.

The cattle class of ancient men

Are greeted with open arms

Welcome to our daughters

We breed them on our farms

Ripe for human trafficking

We sell their innocent charms

Two other songs stand out: Where Are You and Don’t Go Away. Each features the lead singer Sophea Chamroeun and on the videos you are at street level in the slums and alleyways of Phnom Penh. Sophea sings in front of a massive slum complex, one that through sheer talent she has managed to break free from. All of the Cambodian members of Krom come from this impoverished community. Krom is a group of messengers who have never shed or denied that community and give voice to the hardship, caring, love, violence and abuse: the panorama of the best and worst of the human condition. No community stays static and over time the pressure builds until there is change or a social explosion.
Christopher Minko draws his inspiration from that hellish pressure cooker and stirs his lyrics with the hot chili peppers that burn and sting.

The lyrics and music of Krom establish an open line that lets the rest of us listen in on the conversations inside this ignored community. Once we are connected by the music, we take a journey through a landscape where social justice and equality are merely ideas and words, into a place where political slogans are the official lyrics everyone is supposed to sing and dance to. Krom is having no part of that charade, and serves up instead a counter vision: one that exposes the lies and delusion, one that pulls us to one side to listen to the bleakness of true noir, an invitation to experience an authentic cry from the heart.
When I listen to Krom, I am reminded of the opening lines from Thomas Pynchon’s Gravity’s Rainbow (1974):
‘A screaming comes across the sky. It has happened before, but there is nothing to compare it to now.’

Krom is such a scream from a wounded soul. The lyrics consolidate into a dark pitch blasting our sensibilities in an echo chamber of pain. There is an existential scream and nothing prepares us for it in our cosy world of shopping malls, social media, offices, clubs and homes. In a critical stage, the world is hollowed out and in many cases those left with nothing but the empty husk move forward seeking to survive, looking for redemption.

Krom’s music, like Chris Coles’ art, is part of the noir movement in Southeast Asia. Like a noir novel or painting, it opens a window onto a troubled society and brings into focus the tensions that give birth to the political, social and economic dimensions, ever shifting, inside ordinary lives. To understand behaviour, reactions and feelings, the lyrics in Songs From The Noir and Neon Dark provide a valuable cultural map. The best music, art and crime novels function like a GPS that guides us through winding back roads, local streets and little undeveloped hills.

Krom’s music shows the damage inflicted by the tsumami of rapid globalised change swamping many cultures. We have entered in the past ten years what Auguste Comte called a ‘critical stage’. That stage for Comte arrived after the French Revolution. There is a new cycle, a revolution driven by technology, one that has proven to be as disruptive as an old-style revolution. The past is not a reliable guide because technology has exposed the limitations of institutions, the authority of old elites and the old power arrangement. It is a time of the great dismantling. Krom’s vision may be dark, but it may prove a warning of what’s to come. Our lives have become fragile and unstable and Down Sukhumvit Road is about how easily we are turned from human beings with hopes and dreams into a commercial object with a price like any other livestock.

Christopher Minko and Krom are busily singing songs you should pay attention to. The songs are about how disharmony balloons filled with the helium of discontent are circling over all of our heads. Listen carefully to Krom’s screaming across the sky. Look up and you’ll understand there is nothing to compare to the moment when the engines of the V-2 rocket cut out and there is that long, long ache of silence before the explosion. Minko’s lyrics are a testament to the fact that there are legions of victims waiting inside that cone of silence.

Christopher G. Moore is a Canadian writer of 24 novels, five works of non-fiction and two anthologies of short stories, Bangkok Noir and Phnom Penh Noir. He is best known for his trilogy A Killing Smile, A Bewitching Smile and A Haunting Smile, a behind-the-smiles study of his adopted country, Thailand, for his Vincent Calvino Private Eye series set in Bangkok. This essay was first published in the December 2013 issue of Australian magazine Arena.