Ma Deng

WEDNESDAY 6 | Three decades have passed since the Cambodian government converted a block of civil servants’ apartments into artist flats; a place for dancers, painters, sculptors, writers and other artisans who survived the Khmer Rouge to live and work, to create a community. Since then, Ma Deng (‘The White Building’)’s occupants have turned from hundreds into thousands, the structure falling into ever more deplorable disrepair. Today, it continues to hold international interest. Find out why.

WHO: Architects and the culturally inquisitive
WHAT: Screening of three documentaries on ‘The White Building’
WHERE: Meta House, #37 Sothearos Blvd.
WHEN: 4pm November 6
WHY: An icon investigated

 

Mad & bad

MONDAY  4 | Inspired by legendary rock critic Lester Bangs, whose finest album reviews were compiled into the anthology Psychotic Reactions And Carburetor Dung by his contemporary Greil Marcus, Psychotic Reactions are a band of four lunatics who cover everything from L7 to Nirvana, but punked up beyond all recognition.

WHO: Psychotic Reactions
WHAT: Punk meets grunge, with menace
WHERE: Equinox, #3 Street 278
WHEN: 9pm November 4
WHY: They’re hard, fast and nasty

 

El Gipsy King

SATURDAY 2 | Guitarist Diego Dimarques is perched on a barrelhouse stool, sipping bottles of Angkor and playing Spanish jazz at the finest music room in Phnom Penh. Clean-shaven with greying, shoulder-length hair, the 50-ish-year-old guitar player could easily pass for a son of Jose Reyes, the world-famous flamenco guitarist whose five sons – Nicolas, Canut, Paul, Patchai and Andre – comprise a majority of the Gipsy Kings. “There are rumours that I was part of the band, the one with the white hair,” Dimarques says, dispelling any notion that he might be a long-haired Nicolas Reyes in disguise. “I am not part of their family in the sense that we have no common blood.” But Dimarques is a fellow traveller on the same circuit, a compadre in heart and spirit, and considers Gipsy Kings co-founder Jalloul ‘Chico’ Bouchikhi both a friend and inspiration. “I met Chico when I was playing a hotel in Paris in 2006 or 2007 and he was there to promote his new album Freedom. I was surprised to see him and I went to him to apologise for not playing his songs very well, but he told me: ‘The more they are played, the less we forget the culture.’ We talked together around a Pastis and he told me there was no problem if people thought I was part of the band!”

WHO: Diego Dimarques
WHAT: Gipsy and Latin music
WHERE: The Groove, Terrazza, Street 282
WHEN: 9pm November 2
WHY: Our very own Gipsy King

 

Sweet Euro sugar

For the uninitiated, crepes are the French anti-meal: a more-than-a-snack-less-than-a-meal pancake stuffed with brunchy staples such as eggs and ham or sugarcoated to tooth-aching perfection. Crepe Mania, the new creperie on Street 214, deftly works both sides of the pan. The menu comprises ‘salty’ and ‘sweet’, with standards such as the Monsieur (ham and cheese) and Madame (the Monsieur with an egg) on the salty side, and coma-inducing chocolate overdoses such as the Duchess (a banana, chocolate sauce and almond-stuffed pancake gratuitously dusted with powdered sugar) on the sweet side. Al fresco dining, brisk service and potent coffee round out the experience. Crepe Mania, #38 Street 214.

 

 

Organic grooves

SATURDAY 2  |  A bicycle bell tinkles above muffled chatter and the distant swoosh of street noise. A single note rings out, slowly reverberating into silence. A second note, lower this time. The pitch drops again, followed by… the rush of wind? The splash of waves, perhaps? A lone voice with sing-song lilt echoes the same tonal arc: ‘Heat… Light… Weight… I am woken by the amber chants of bald men… and ecstatic squeals of children… and the mysterious banging and grinding that will miraculously turn into a new storey on a house across the street… or a new building on the next street down the block… once I have the energy to walk past it…’ So begins Triptych, the first album poised for release by WASH – an eclectic group of four sound wizards who between them span spoken word, electronica and live instrumentation. Triptych is no ordinary album, but then WASH is no ordinary group. Flyers promoting WASH’s second live performance, The Next Horizon, frame it thus: ‘Electronic music meets poetry and they get along pretty well.’ Let us turn for a moment to Hal FX (the ‘H’ in WASH): “WASH is basically comprised of one poet and three music producers, so our attitude to putting the music together is probably quite different from most groups. It’s more about considering the overall sound, thinking about what we can introduce to the vibe and how the audience is going to find the experience. Maybe I drew the short straw with playing the actual instruments: I don’t really consider myself a guitarist or keyboard player. First and foremost I’m a music producer, so this gives me quite a different approach to playing those instruments live. For me it’s about adding tones and textures to the rhythms and sounds that Warren and Alex put together. The guitar and piano melodies form a counterpoint to Scott’s voice and join the electronic world with the more natural.”

WHO: WASH
WHAT: The Next Horizon performance plus Triptych album release
WHERE: Meta House, #37 Sothearos Blvd.
WHEN: 7pm November 2
WHY: “I surf on what they’re serving up. There are times when I’m thinking: ‘How does this start?’ Then the sound rises and I know where I am. I get to walk through this jungle they’ve created. It’s wonderful.” – Scott Bywater

 

Shtetlblasters

SATURDAY 2 | In the shtetl (‘villages’ or ‘ghettoes’) of Eastern Europe, itinerant Jewish troubadours once roamed, expressing through klezmer music the full gamut of human emotions from joy to despair, from devotion to revolt, from meditation to drunkenness – all served up with a generous dose of Yiddish humour. Inspired by secular melodies, popular dances, and the wordless melodies used by orthodox Jews for approaching God in ecstatic communion, klezmer’s evolution was spurred by contact with Slavic, Greek, Ottoman, gypsy and, later, jazz musicians. Using typical scales, tempo and rhythm changes, slight dissonance and a touch of improvisation, today’s klezmorim include Sam Day, a young mandolin player from the US who, before returning home recently, was instrumental in founding the Klezbodians. The band includes members of Grass Snake Union and the Phnom Penh Hippie Orchestra, featuring Bun Hong on clarinet, Giacomo Butte on accordion, Jose Encinas on guitar and Ali Benderdouche on dumbek. When not peddling Yiddish tunes to Cambodian audiences, Sam is to be found recording with the US-based and magnificently named Shtetlblasters. “There’s something danceable about klezmer music,” he says. “There’s a very clear rhythm; it’s driving, propulsive music. And the scales used are sort of major and minor at the same time, so there’s something melancholy about it. It’s very vocal, too; the melodies are played on the clarinet or violin in ways that attempt to emulate the human voice, the sound of a cantor – in a synagogue, the person who’s singing the Jewish prayers…” [Erupts in song] And what can we expect of the Klezbodians? “Mostly fast-paced klezmer instrumental music – similar to gypsy music – along with some Yiddish vocal tunes. It will be feisty!”

WHO: Klezbodians
WHAT: Itinerant Jewish troubadours
WHERE: Doors, Street 84 & 47
WHEN: 9:30pm November 2
WHY: “It will be feisty!” – Sam Day Harmet

 

Full metal jacket

SATURDAY  2 | Wedged between guitar cases in a windowless room, thunderous drums and battering thrash guitar riffs soar piercing vocals and experimental guitar melodies – or what Splitter call ‘Squeedleedees’. “Squeedleedees should be a proper music term,” says Doug, the experimental guitarist. Vocalist Sean nods solemnly and then giggles: “Pentatonic squeedledees!” Classically trained Norwegian jazz drummer Henrik, grinning from beneath a hefty ginger beard, slaps his palms on his thighs in a complex rhythm: “Drum moves have names like that: paradiddle and parama flimflam…” The others shriek in unison: “SQUEEDLEEDEEEEEEEEEEEEEEEE!” Pressed to define Splitter’s sound during a rare moment when he’s not pogoing up and down in a sweat, Sean shrugs. “The short answer I give is that it’s metal for stoners but that’s not sufficient. It’s progressive but driven, I guess. Progressive in that we’ll use weird time signatures, play outside the major key, have weird instrumental breaks. Stuff you’d expect from bands like Tool and The Mars Volta, but with a more gut-level punk rock kind of force about it.” Thrash guitarist Ryan, from the neck up nothing but beard, teeth and baseball cap, leans back against the roof terrace railings and takes a slow drag on his hand-rolled smoke. “You’ve got barang bands doing covers and Khmer bands doing stuff that’s brutal as fuck. It’s nothing but pop-rock or deathcore. We offer something in between: a sound that’s heavy, but you can still groove to it.”

WHO: Splitter
WHAT: All-original heavy metal
WHERE: Slur, Street 172
WHEN: 7pm November 2
WHY: They’re heavy, but you can still groove to them