Green tea & man-eating tigers

BBC JOURNALIST, River Cafe chef and wild-bearded eco-warrior Rory Spowers is noted for many things. Among the most thought-provoking are transplanting his family to an abandoned tea estate in Sri Lanka for his book A Year In Tuk Tuks & Green Tea; defying the BBC’s orders not to mention climate change because it was ‘bad for ratings’, and riding across Africa on a three-man tandem once owned by British comedy trio The Goodies. As of last week, this perennial adventurer is the first ‘sustainability ambassador’ at Song Saa, Cambodia’s sole five-star island resort which might just be impressive enough to trigger a global revolution in environmental thinking. The Advisor meets “reconstructed eco-warrior” Rory Spowers and Dr Wayne McCallum, Song Saa’s director of sustainability, to talk green tea, man-eating tigers and why we need to fix ourselves before we can fix the planet.  `

How did you discover each other?
Wayne: I found a copy of A Year In Green Tea And Tuk Tuks at the back of a second-hand bookshop just down the road. I thought: ‘three bucks? I’ll take it!’ [Laughs] Then I read it and thought: ‘This looks like an interesting guy; I’ll reach out to him.’ There’s a lot more to the book than the cover suggests. He’s thinking along the same lines that we might take the foundation; I thought the aspirations, goals, motivations and objectives were very similar to what’s inspiring us. At the end of it I thought: ‘Why not reach out?’

Rory, do you often get ambushed by pencil-moustachioed environmentalists?
Rory: [Laughs] The book has hardly made me a rich man: it hasn’t sold hundreds of thousands of copies, but it has definitely struck a chord. I’m still getting emails from people all over the globe who’ve just read it.

Looking at the cover, you could be forgiven for thinking it’s by just another pallid British bloke who’s decided ‘Bugger this. It’s too cold in London. I’m moving somewhere hot.’ What were you thinking when you uprooted your wife and two toddlers to a tea plantation in Sri Lanka in the hope of turning it into an eco-Mecca?
I certainly wasn’t expecting to – certainly had no aspirations to – buy such a huge piece of land. I definitely wanted to buy a bit of land and do something along these lines, but I was thinking two or three acres, not 60. It just sort of evolved. I went back to see this piece of land six or seven times and every time there were more and more local guys in shades breaking up paths and draining wells. It all stacked up to become irresistible. Even when I bought it I didn’t know this was what I was going to do, but there was something very magical about it: a secret garden waiting to be uncovered.

When Wayne first told me you were coming, he described you as ‘a reconstructed eco-warrior’.   
[Laughs] I’m not quite sure what that means!
Wayne: I’d say ‘sustainability champion’

I prefer ‘reconstructed eco-warrior’. How did your nascence as whatever we finally decide to call you come about?
Rory: I grew up with very fanatical gardening parents. My father went on to build an arboretum of rare trees just outside London. I grew up landscaping, clearing paths and building lakes. It wasn’t quite jungle, but it started at 16 acres and grew to 160. My father claims it has more species of tree and shrub than Kew Gardens, but I can’t verify that! Then I was lucky enough to travel: India, Asia. Also philosophy, particularly Buddhism, became increasingly interesting; I got into yoga, that sort of thing. Then I went to Africa on The Goodies’ tandem, if that means anything to you.

That means more to me than you can possibly know.
That was my first book, Three Men On A Bike, which had some fairly hilarious one-line reviews from Australians and New Zealanders. One chap goes: ‘Ah, look! It’s a book I can actually read!’

And what did The Goodies make of all this?
They were our patrons. I kept in touch with Bill Oddie for many years. I reunited him with the bike in the early ’90s and made a film with him in India about the Ganges, mostly an environmental film; his best friend had been killed by a tiger in Jim Corbett National Park in the mid-’80s. It was taking Bill back to the spot where his mate got killed. The Goodies thought we were a bit strange, obviously. Then I did a long walk through India in ’96/’97. With that and the big trip to Africa I really started to feel a lot of the eco stuff, seeing first-hand what rather ill-advised, big top-down development had done to environments, ecosystems, habitats. The tour with Bill Oddie in 1990 was my first… I wanted to make films, really. I studied English Literature after a general arts degree; I never studied ecology. It became a passion. I even wrote about the history of ecological thought in Rising Tides.

How has ecological thought changed with the so-called advance of human society?
That’s what’s always fascinated me: what are the things that led to where we are? Why have we, as a species, separated ourselves from the natural world to such a degree?

I watched the interview you gave at the launch of the 999 campaign, where you describe the need for “Real, tangible interaction with the natural world.”
If you think about it, it’s ludicrous: this idea that we can separate ourselves from the natural world. We’re dependent upon it. There are 90 million chemical reactions going on within our bodies every second; we are an integral part of the planet as much is anything else is, but we’re the only species that has separated itself because of this rather dubious gift of the human ego. As far as we can tell, we’re the only species that’s conscious of being conscious. One thing that’s hugely overlooked at the moment is the imperialist agenda of the post-Industrial Revolution, which totally seized on the Darwinian notion of survival of the fittest and made it all about competition, but if you go back to Darwin’s original work in The Origin Of Species, he talks about cooperation between species even more than he talks about competition. We’ve only been sold one side of the coin. It was used to prop up expansionist, imperialist politics and economics right through to the present day.

What new biological thinking – particularly Chaos Theory and Capacity Theory – is showing is that all this exciting stuff going on in eco-economics is all inspired by natural systems. Most of the interesting breakthroughs in modern technology are based on scientific mimicry: if you look at the efficiency with which a leaf captures and harnesses solar energy compared to our most advanced photovoltaics, we’re just miles behind; spider webs made by insects who, without needing high energy to do so, can create something that’s eight times stronger than steel. Scientists are now looking at the abalone shell as a way to redesign our ceramics for things like the space shuttle. My brother has spent the last 15 years building a hydrogen-fuel-cell vehicle which isn’t just tremendously inventive in terms of its technology, but also in terms of the governance within his company, which gives society and the environment an equal stake-holding. The car wouldn’t be sold to the consumer; it would be owned by the company and leased to the consumer, making the company responsible for the full life-cycle environmental impact: there’s no built-in obsolescence. While we have an economic system that continues to reward people who pollute and abuse resources, there’s an age-old debate about step change and incrementalism: however much you tweak and fix a system that’s fundamentally broken, you can never cross a chasm with two leaps. Everybody’s getting excited about big car companies producing hydrogen-powered cars, but it’s still woeful, actually, if you look at the average fuel economy of a car produced in the last 10 or 15 years despite everything we know and despite all the technological advances we’ve made, we’re still locked into a paradigm that’s never going to be sustainable.

A lot of the technologies people would like to see happen in order to shift towards a more sustainable pattern are simply not compatible with our current economic system. Until our economics reflect the true cost of society and the environment within the price of things, we’re never going to make it. If a car truly reflected its cost to society and the environment, we’d simply never be able to pay for one. While we continue to assess our economic prosperity based on things like GDP – which goes up every time there’s a disaster, every time there’s an accident, every time there’s a hospital bill, every time there’s a divorce – you’re doing your economics on a calculator that doesn’t have a ‘minus’ sign. You can make it look like we’re flourishing, but in fact an enormous amount of things within that indicate the complete reverse. Going back to the reconstructed eco-warrior bit, I was very strident and outspoken; I used to get on my soapbox and rant and rave about things. Rising Tides is very polemic, but then I realised that I was stabbing myself in the foot: looking back at the book, the environmental agenda is very much split because of making that alarmist, out-of-proportion or unfounded claim.

Every time something doesn’t happen, the world goes: ‘But you said this and you said that!’ ‘You never create change by fighting the existing model; you’ve got to create a new model that makes the old one obsolete’: that’s a quote I come back to often. We see it in fashion: it’s totally implicit. I don’t want to knock people protesting or campaigning, which are valid roles to play, but a lot of people are in this vein now; a lot of that energy is misspent or could be better spent being channelled into making the new model visible to people. That’s what The Web Of Hope [an online database of role models for sustainability, social justice and positive change] was all about: trying to create a global resource of role models for positive change. We don’t get enough column inches and people don’t know these solutions are there; they just throw up their hands and think there’s nothing they can do.

And a lot of those solutions get buried by Big Industry.
Also, most of the media doesn’t want to know. Bruce Parry, who I’ve been working with on Tribe for the last two years, made a series about the Arctic. In the final edit, the BBC removed any reference to climate change because it was ‘bad for ratings’. It was that kind of experience that prompted us to make the films we’re making now: entirely independently financed and a chance for Bruce to go down all the avenues he wasn’t able to previously and really get at these ‘fringe’ alternative, esoteric things which may actually be very important.

As an individual, it’s easy to feel dwarfed.
Absolutely and the whole notion of what psychologists refer to as ‘psychic numbing’, when you get so overwhelmed by the magnitude of these things; there’s a worry that the generation now are so overwhelmed by the magnitude of it that they almost completely cut off, it’s a turn off. Then again awareness of what people can do through intelligent choices – through the Fair Trade movement, the organic movement, and I always thought food would be the issue that would shift things…

Speaking of food, you were once a chef at The River Cafe in London, which famously gave the world Jamie Oliver.          
People are really starting to question the toxicity of the food they’re giving their children. This is an incredibly emotive issue: our most direct, tangible relationship with the natural world. Sourcing local produce, organic if you can, that’s really shifting and has become totally absorbed by the cult of the celebrity chef which is now rippling out in other ways. What I wanted to emphasise in the 999 It’s Time campaign was that shift from individual action towards coming together as a group, as a community, as a family or as a bunch of friends. It’s absolutely staggering to see the number of people coming together now.

Slow food, organic baskets delivered to your doorstep. Barnaby Olson, Song Saa’s resident marine biologist, says environmentalism is “like the icing on the cake: the last thing to on, the first thing to come off”. Isn’t it just a product of the one-percenters? You come to a place like this and people have more pressing worries, such as preventing their children from being sold into slavery.  
Is it a luxury of the privileged? So much of it also is traditional common sense. You talk about biodynamics and permaculture: if you go to the small farms in Ibiza where I now live, they go: ‘But that’s what we’ve always done.’ The forest gardening stuff I was trying to introduce in Sri Lanka had its roots in very ancient local methods. There’s an aspect of forgetting, which has come about with industrialisation and the whole Industrial Revolution and this culture we’ve created around that, which is antithetical to a lot of traditional common sense, like the basic notion of harvesting rainwater in dry parts of the world. When I first travelled to India in the mid-’80s, you hardly saw a plastic bag. Now you can hardly move without seeing one. Packaging was once made with recycled newspaper and tied up with a piece of twine. That’s now happening again. There are lots of ways in which we stepped out of typical ecological processes as a consequence of industrialisation and it shouldn’t, at least in theory, take too much for us to step back into it. It’s also inherent that within that there’s this centralised direction everything has taken, whether it’s centralised energy production or massive monoculture and agriculture. It’s the same way the renewable energy debate has gone in the UK. We’re so polarised, it’s either this or that, which is typical of our modern mindset: if you’re anti-capitalist, you must be communist; if you’re anti-nuclear, you must be pro-wind. In fact anyone with their head screwed on in the energy debate will recognise that all of these decisions should be made on a regional basis; decision-making as a power should be devolved to the lowest possible level to local communities to decide what actually suits them. What’s applicable in Cornwall isn’t applicable in London or the Midlands or Scotland. We are, as a species, very ‘It’s either this or that,’ which fundamentally fails to look at all the other possibilities in front of us.

Which rather begs the question: ‘Is that why we’re in this mess?’
It is, partly; it’s a transcendence of a deeply dualistic way of looking at absolutely everything and that’s just the way we’ve cultivated ourselves. We’re stuck in this weird little loop.

It could be argued that the West has had its turn. Isn’t it fair that the East now gets its turn?    
Absolutely! China and India are coming on-stream with massive burgeoning societies. You can totally understand that their aspirations are the chance for a turn-around. I think one area that’s massively overlooked by environmentalists is population and the fact there is actually a carrying capacity.

The planet can support two billion people is the oft-quoted figure. We’re nearing seven.
As of 2008, it was taking 16 months for the natural world to regenerate what we were consuming in 12 months as a species, so the planet’s net productivity was minus 20 percent – and that’s been going on since the mid-’80s. If we stopped using C02 tomorrow, we’d still be feeling the impact 30 years from now. Realistically, I don’t think we’re in for an easy ride. The solutions I’d like to see happen aren’t going to happen overnight, but I don’t think we’re going to completely wipe ourselves out as a species.

And that’s the more pressing concern: it’s not the planet that’s going to be wiped out, it’s the human race. The planet will be just fine, eventually.       
There are all sorts of Gaian processes at work trying to eradicate us. From the Gaian perspective, we’re a cancer on the Earth. I think pandemics are not so far away; significant climate shifts, and again we believe most of these will happen on a gradual linear progression, but the evolutions and computations in nature are rarely a comfortable ride. It’s going to be messy. It’s just a question of when everything kicks in.

What did you make of Song Saa and what its founders are trying to achieve here?
I was hugely impressed; it’s really raising the bar – a new exemplar in this field. What’s interesting is they’ve embedded from the outset: work with the local community predated the evolution of the hotel; they’ve been moving along hand-in-hand. It’s not a bit of retroactive PR spin, which it often is in this case. They’re getting the groundwork in place for a model you could replicate on a much wider scale. It recognises the necessity of it being a two-way exchange; it’s not ‘You guys do this.’ There’s actually a much more intelligent approach.

Paul Watson, captain of the Sea Shepherd, famously garners headlines for ramming whaling boats, occasionally taking things too far and winding up behind bars. More conservative marine conservation agencies say that although they can’t condone his tactics, what ‘extreme environmentalists’ do quite successfully is make it easier for milder organisations to gain political ground. Is there room for the full spectrum of eco-warrior, from the suited and booted to the total anarchist?
Yes, absolutely. It softens the blow for other organisations. He’s a really rather remarkable man.

Who else inspires you?
The most refreshing new voice is a guy called Charles Eisenstein, who’s very involved with the Occupy movement. His magnum opus is A Sense Of Humanity and his most recent book is Sacred Economics. He’s really moved the whole thing along in a number of ways. He’s young and fresh and informed from a very spiritual perspective. Humble, but articulate; he’s not banging a drum and he’s not confrontational. He’s too intelligent for that. I’ve always been a huge fan of Paul Hawken in America, his economic thinking. George Monbiot has just written a new book, Feral, about re-wilding the landscape, which I’m reading at the moment. He’s a powerful voice and a very, very bright man.

Those who bang the drum the loudest are often silenced in horrible ways. When Al Gore’s film An Inconvenient Truth first came out, everyone scrambled to act. Then came the criticism.
Yes. They’re not putting themselves in a very clever position. When Rising Tides first came out and I was given the opportunity to speak, I was angry; I’d get into a bit of a rant and be very strident, but it’s a massive turn-off and it’s not very clever because you’re undermining yourself and exposing yourself to criticism. There’s a quote I use quite a lot and it’s about hope and optimism; there’s something very Buddhist about it as well: ‘Hope is wanting something because you know it’s inherently right, but without any attachment to the actual outcome; optimism implies an attachment to the result.’ I touch on this because of having gone down a certain route in my own spiritual journey, which in many ways seemed very odd. Ultimately I realised it wasn’t odd; all that was off was me having this attachment to the results of what I was doing. As soon as that went, I suddenly found myself being able to speak publicly and take part in debates without anyone being able to get my back up. Immediately, you’re in this much stronger position. Passion’s a great thing, I’m not disputing that, but it gave me an attachment to ‘I’m right and you’re wrong.’ Again, it’s this whole concept of conflict. As soon as you’re engaging on that level, you’re diminishing the power of the whole thing. Ultimately I believe that what’s necessary is coming from – dare I say it – a very spiritual dimension. I spent all those years trying to avoid it, but it is and that’s why the project with Bruce has been so fascinating. Anyone who wants to fix the problems of the world should probably start by fixing themselves. Jiddu Krishnamurti said to me: ‘We’re all very happy to wax on about the problems we see in the world, but very few of us are prepared to change ourselves.’ Quite often the people who are most vociferous in their critique about what’s wrong with the world are people who haven’t been prepared to look at themselves. This has become a big externalisation of their inner turmoil and I see a lot of that within activist circles campaigning for this and that. It’s an externalisation of stuff going on within that maybe they’d do well to address first. If you can find harmony here [touches heart], the actions flowing from it are much more likely to be harmonious with the outer world. It’s a very Buddhist thing.

Backstage: behind the scenes

Backstage is among the latest players in the capital’s growing music divide. Hidden among the small shops that line the quay between Cafe Fresco and Costa Coffee, the narrow music bar plays danceable European-edged techno during the week and hosts live DJ sessions most weekends. The interiors are first-class, with floor-to-ceiling mirrors giving the smallish room the feel of a much larger venue. Unfinished concrete walls and metal-and-pine furniture accented with black cushions give Backstage a smart, relaxed feel, much more private dressing room than public storage area. And the menu, which offers Prosecco by the glass ($5.50) and Moet & Chandon by the bottle ($90), definitely says this is no place for poorly dressed road crew or beer-chuggers. Backstage, #377 Sisowath Quay.

From out of the darkness comes elegance

Male and female.

Fire and water.

Dark and light.

Life and death.

Many natural forces that might at first seem contrary are in fact complementary, a concept embodied in the yin-yang of Chinese philosophy. Together they interact to create a sum far greater than their parts. Such is Krom (‘the group’), quite possibly the most reclusive band in Cambodia. Public performances are rare; interviews even more so.

In Krom, East meets West. Mournful delta blues guitar mingles with celestial Cambodian vocals. Tales of human atrocities are tinged with the slightest suggestion of hope. Angelic opera singers Sophea and Sopheak Chamroeun, 22 and 21 respectively, are backed by Australian guitarist Christopher Minko, a man onto whose features more than a thousand lifetimes have been etched.

Nearing 60, Minko is not without his demons. A professional musician with Australian cult band The Bachelors in Prague in the late 1980s, he is today a recovering alcoholic who smokes more than three packs a day, wears any colour so long as it’s black and has been in a near-permanent state of mourning since the death of his wife, the mother of his only daughter. When he speaks of her, cross-legged and barefoot on the floor of Krom’s studio in a tiny Phnom Penh alleyway, a single tear slowly meanders down one of the many ravines that years of hard living have carved deep into his flesh.

Sophea, dressed in white t-shirt and black trousers, sits in quiet contemplation just a few feet away. As haunting tracks from newly completed second album Neon Dark spool out softly from the speakers, she tilts her chin upwards and closes her eyes, lips moving with the lyrics – penned by her own hand – in silent song. A child of The Building, a tumbledown haven for Cambodian artisans, she speaks only a few times during our two-hour interview, offering up sound bites of wisdom in a whisper whenever Minko ducks out for a smoke.

Ying, from debut album Songs From The Noir, is Sophea’s favourite Krom song – the first on which she and Minko collaborated. “It’s about someone who dies and is thinking about the people she left behind; it’s about Chris’ wife,” she says. “She’s in a very big world but she’s all alone and there is no sky. She regrets that her time was very short and she will never grow old because she died. She wants to thank the person she left behind because their life together was very good.”

She’s Seven Years Old (Her Body Sold), from Neon Dark, is perhaps Krom’s most disturbing song to date. It recounts the true story of a young Cambodian child sold into sexual slavery and was described by BBC Radio broadcaster Mark Coles as “Harrowing; a very disturbing, powerful song.”

Minko was motivated to write the lyrics after reading a story in the local press that described the rescue of a girl from sex traders on the Thai-Cambodia border. The photo accompanying the article showed her chained to a bed: “a horrendous mix of fear and utter bewilderment shown within the eyes of the enslaved young girl”, says Minko, noting that the song “is meant to make the listener feel uncomfortable, very uncomfortable”.

Poised to perform at the Vibe Music Festival this week alongside Master Kong Nay, Minko invited The Advisor into Krom’s studio to talk noir, sex trafficking and why white boys shouldn’t do Khmer music.

The liner notes on Songs From The Noir describe the album as ‘very personal love songs by a man deep in grief’.

Krom’s music comes from the heart, it really does. My wife was an angel. Without her death, I would not be doing Krom. When she died, I went back to music. Music was the way I dealt with her death and I’m probably still dealing with it that way. I’m very, very thankful for her. The mother of my now 19-year-old daughter died in 2010, which gave me an enormous emotional kick – probably something I’m still dealing with to this very day. In writing, what I did when she passed away was sought to make a 14-song album for her. One of the early songs was The Ying. Sophea came in and I just hummed the tune once – ‘Got no money, love you like a monkey, I no lie to you, I talk true’ – and Sophea went downstairs and did one take and it was done. From that, I recognised immediately Sophea’s quite phenomenal talents. That really led to Sophea and I working together to create the first album, Songs From The Noir. We worked on it for 14 months; we didn’t go out and perform or anything.

‘Elusive, reclusive and exclusive’ is how you refer to yourselves.

One of the core objectives of Krom is our musicianship. We really slide towards an original, high-quality standard of music. We spent 14 months working on the album, just hiding ourselves away. Krom is a ‘quiet listening’ band and unfortunately in Phnom Penh you don’t have listening venues. Sophea and Sopheak are classically trained opera singers from the age of 12, so they bring that into the music they sing. On top of that we’re an acoustic band, so I work on delta blues picking and the quieter the audience, the better we can play because we can actually bring in finesse; we’re not fighting against the sound wall. Krom is not a pub band; we’re not a dance band.

Your content is pretty heavy; the sort of material designed more for contemplation than distraction.  

Yeah. On the new album, Neon Dark, we have two songs that are specifically related to the sex trafficking industry.
One is Seven Years Old (Her Body Sold), which debuted on BBC Radio earlier this year. What’s the other?
We’ll give you a sneak listen to it! It’s an eight-and-a-half minute song about Sukamvit Road, the famous hooker street in Bangkok. This will be the last song I’ll write about this because they’re exhausting songs to write.

Weighty issues…

…that need to be talked about and they’re not talked about enough. Sukamvit Road is a very hard song in its terminology. My wife was Thai. I’ve lived here for 18 years and I’ve seen the underbelly of Asia, all those perspectives. When it comes to human trafficking, I’ve seen the consequences at very close quarters; I’ve looked deeply into the murderous nature of this industry that’s still denied to this very day. A good example is a newspaper article I read the other day. I love the New York Times and they had a front-page article about the ‘lure’ of the Thai industry. What people are denying is that approximately 20% of Thailand’s GDP is built on sex. It’s an entrenched billion-dollar industry that involves shipping truck loads of very young Cambodian women and very young women from Myanmar and Laos into Bangkok. The article spoke about Thailand’s unbelievable skill at being able to ‘lure’ tourists into Thailand, but the ‘lure’ is actually sex. You look at this explosion of genres – noir; art, everyone looking at the underbelly of Asia – but all of the authors, all of the artists, to this very day romanticise it. It’s voyeuristic and it glorifies it. No one’s actually saying the cold, hard truth, which is that this is a murderous industry and it’s being run by the ruling elite. Am I sensitive to it? Yes, for many reasons, but also because Cambodia is well and truly on the way to doing the same. And I’m even more sensitive to it because of something I only became aware of the other day when I was talking to a very close friend about exactly this issue. Sophea is 22 and Sopheak is 21, so given the opportunity at the age of 12 to work within the arts, as they were, who knows what potential can come out? I’m very proud of Sophea; I think she’s quite courageous. You look at the material we take on with Krom. Some of Sophea’s Khmer lyrics, which will be translated into English, are much more powerful in the second album. I’m quite careful about how we deal with these very sensitive issues. In Seven Years Old I think we managed to do it with finesse, talk about things that are very uncomfortable, like paedophilia. I speak deliberately like a newscaster so there’s no overuse of the vocals. Another good example is the song Tango Traffic Tango, but there’s one thing that’s missing: it should be sung by a Khmer, because it’s ‘Welcome to OUR daughters; we breed them on OUR farms.’ But up until now – and I would not expect this of Sophea – Cambodian singers aren’t ready to say these things in a song.

That was going to be my next question: do other Cambodian singers ever touch on such subjects?

I think Sophea’s starting to. Passion is about Khmer women becoming stronger. She’s starting to write lyrics that have got a social justice edge. I think she’s the first Joan Baez or Bob Dylan of Cambodia in her own way. It’s subtle – and it has to be subtle.

Sophea describes your music as ‘complete’, even though for the most part there are only vocals and a single guitar.

There’s a reason for that, which is interesting musically. I play delta blues picking, so I’m working six strings. You actually play rhythm, bass and the core melody all at once. That’s why we don’t need a bass guitarist. But I play in modal tuning, so I tune my guitar differently. Joni Mitchell always plays in modal tuning. There’s a relationship between modal tunings and Eastern music, so it gives Sophea a good base to work from. There’s quite a natural fit there. I’m exceptionally pleased that contrary to a lot of people who said we could never get the Khmer language out there, the BBC’s going: ‘You don’t need to understand the language; the voices are so beautiful.’ We sometimes sing English and Khmer together; Neon Dark’s got a bit more of that. The other thing that creates the unique Krom signature sound, the beauty behind Krom, is when I compose a song I’ll lay down normally one guitar, potentially two, in the studio. Sophea then comes in and I give it to her on a memory stick and she goes away. Rarely do I even hum a song. The whole key is that it has no influence from me, from the Western side. Sophea goes away and I actually get excited. I do! One of her pieces, Rain, just got me. On Neon Dark we introduce some pretty modern jazz guitar playing and Sophea’s done some phenomenal vocals.

So you work independently and then put it all together?

It’s about mutual respect, because once you try to be white boys influencing Khmer music it goes belly up. Maybe it’s something to do with age. I’m close to 60 and love being able to sit in the background. I’m a musician and my greatest passion is to see what Sophea and Sopheak come up with in these compositions.

Let’s talk briefly about the first album, Songs From The Noir. May I ask how you met your wife?

We were married 23 years, going right back into the ’80s when I was working in Thailand for the National Culture Commission. Her family owned stores in a famous market in Soi 12. After a very long courtship we were finally married and then she came to Australia. Anya, my daughter, was born in Australia and two years later we came to Cambodia; this was in 1996. We separated after 1997 and came back together in about 2007. She died in 2010 of pneumonia at the age of 42. That’s a rather sad story. It’s a very personal story that I don’t like to go into too much.

Mourning seems central to Krom’s sound.

At my age, I’ve been through quite a lot and I’ve seen quite a lot and I find there is enormous sadness and tragedy in life. I do recognise the dark side of life. The words of Krom are not wrong: we are reclusive and elusive. At this point in time I just love making music. Songs From The Noir will always be a very special album for Anya’s mother, who I still really love to this day. Neon Dark is completely different: it’s a real celebration of music and focuses on Sophea and Sopheak. Krom is innovative and creative. I love what Sophea is doing; I love what Sopheak is doing; we have a great relationship with our producer Saroeun and slide guiyarist/saxoponist Jimmy B’s a music colleague of more than 30 years, so he knows me backwards. He knows the music we’re seeking: it’s stripped back deliberately, going on the old tried and true principle that if you can’t stand on stage with just a guitar and voice you shouldn’t stand on stage. Some of our songs would probably sound great with percussion, but we don’t want that sound.

Musically, how does Neon Dark differ from Songs From The Noir?

It’s a fuller sound. I’m having much more fun with the guitar; I’m having a ball! [Laughs] Some of the songs are quite uplifting, although we haven’t walked away from the social justice issues we’ll always touch base on. I hate to use the word, but there’s a wonderful magic between the musicians in Krom. I turned down the chance to record with Master Kong Nay. I have a problem with white boys doing Khmer music: it would’ve sounded clichéd.

Seven Years Old (Her Body Sold) is perhaps Krom’s most powerful track to date.

I’m good friends with noir author Christopher G Moore and noir artist Chris Coles and we get into these arguments all the time. This whole noir genre is romanticising what is fundamentally a murderous, billion-dollar industry. People die. I’ve seen it. I’ve witnessed it. I was with Thai cops for two years observing this stuff. I’ve seen rooms full of 13-year-old girls from Myanmar whacked out of their heads. Again I revert back to Sophea and Sopheak being shining examples of what young women can achieve given the right choices. I’m not saying ban prostitution – it’s been here since day one – but I will argue with great confidence that 98% of women are forced into prostitution. That’s the bottom line.

What angers me is the argument that working in a girly bar or being a professional girlfriend is ‘a better choice’ than working in rice fields or a factory.

Bullshit! Pure bullshit! The other thing is that 98% of these women are doped up through drugs or alcohol in order to cope with what they’ve got to deal with. It’s bullshit. There are alternatives; I’ve seen them manifest themselves. What drives the industry? Why is it now at its peak? International economics, the downfall of communism, the advance of capitalism and pure unadulterated greed has allowed the ruling elite to literally manipulate nations. In Seven Years Old, at one point I say: ‘And the ruling elite are dripping with gold, all that money they have made from those bodies sold.’ Sukamvit Road is probably the hardest song, because I really spell it out: ‘Christians, Buddhists, Muslims young and old, they all take a walk down Sukamvit Road.’ I actually had fun with this one: I used Biblical terms like ‘damnation’ and ‘salvation’. [Laughs]

Has being exposed to such horrors changed your perspective on what it means to be human?   

That’s a very complex question! If anything, the chaos and the fact these societies all live on the edge of anarchy – you do see life in its extremes, from the best to the worst. I think I’ve been very privileged. I come from the wild ’80s, rock ‘n’ roll, high-flying everything, you know? I walked away from that industry into disability work, which is exceptionally humbling. I regard moving to Cambodia as an enormous privilege and I’ve never forgotten that, but most outsiders do. We are guests and we need to be very respectful in that regard, not abuse and exploit Cambodia. On another level I hold Cambodian culture in very high regard: it’s an incredibly musical culture. That potential from the ’60s is finally coming back. Another song, Fractured Fragrance, just sort of popped out. It’s a bit like a whimsical love song. Even though we have a dark edge, we also have a light side to us: we do songs like Country; we don’t want to be singing from the depths of despair all the time. But a lot of the subjects we deal with are very heavy: with Sukamvit Road, you’re worn out after eight-and-a-half minutes.

How many guitars are there on Sukamvit Road? It sounds as though you’re playing six.

Just the one! That’s the picking style. The strings go into harmony, so every string has a vibration and if you do it perfectly a third note pops out. When it comes to guitar, I’m a fanatical purist. I don’t even like putting pick-up on my guitar. I prefer to play straight into the microphone. I’m very influenced by Leo Kottke, who’s just phenomenal.

Amazing how such disparate sounds, delta blues and Khmer vocals, go so well together.

It’s quite remarkable. Sometimes I listen and go: ‘Did we do that?’ [Laughs] I still go to Bangkok a lot – I’m making a stupa in a temple there for Anya’s mother – and while I’m there I’ve been moving Songs From The Noir into massage parlours and bars. I actually parked myself in Sukamvit Road, lived smack bang in the middle of it for quite a while after Mam died, looking into this dark side of that underbelly. There was this one guy running a sports bar who could never quite work me out. He’d say: ‘You’re just observing, aren’t you?’ The last time I was there, he was outright unfriendly to me. You could feel the antagonism. But the whole point of these songs – Seven Years Old, Sukamvit Road – is to make ageing expats and everyone else feel uncomfortable. I’m a single father; my 19-year-old daughter lives upstairs. When we’re playing as Krom it astounds me: the people we’re singing about are in the audience! I was in my late 30s and Anya’s mother was in her late 20s when we married, so there wasn’t this enormous age gap. Every time Krom plays, we play to the people I’m writing about: they’re here, in their 50s, with their 18-year-old girlfriends. Delusion! You’re a woman. When you were 18, did you want a man in his 50s? No! It defies nature. It’s an illusion. The last thing I want to see is my daughter ending up in an industry like that. You can see the tragedy that comes out of it. I accept that Krom is a niche market, that it makes people uncomfortable – that’s the objective. Over and above that, I still believe the music will win; that combination of guitar and voices…

…..

WHO: Krom
WHAT: A rare public performance with Master Kong Nay
WHERE: Doors, #18 Street 84 & 47
WHEN: 7:30pm August 24
WHY: They’re elusive, reclusive and exclusive

Feel Good Cafe: The doctor is in

“You have to listen to the coffee while it’s roasting, that’s why I do it at 4am.” Feel Good, in the unlikely location of Street 136, might just be the gentrification this postcode needs. This extraordinary space occupies enough storeys to warrant 120 steps, encompassing on the way a cafe, coffee-roaster shipped in from Turkey, open and training kitchens, spa, dance/yoga studio and VIP room with, yes, plunge pool. Think inviting wood furniture, liberal leafage, disarmingly charming staff and a resident Puerto Rican witch doctor. Prepare to be spellbound.

Feel Good, #79 Street 136; 017 497538.   

Sonic trip

THURSDAY 22 | It is the sort of sound you might expect to hear in deep outer space – the sound of planets aligning, synthesised notes rising and falling like an angel’s sigh. The muffled heartbeat of the bass throbs from deep within an echoing womb; a tambourine rattling past the microphone with a sudden metallic swoosh. High above it all a chirping flute swoops and soars, like some giant winged intergalactic thing. British composer Brian Eno’s choice of the word ‘ambient’ to describe his music, from the Latin ambire (‘to surround’), was a deliberate one: his were soundscapes that could alter your state of mind; put you into a ‘higher state’ – the sort of existential altitude usually associated with psychedelics. Inspired by John Cage, who occasionally composed by throwing the I Ching, Eno had made possible Clockwork Orange; Pink Floyd; The Orb and Aphex Twin; down-tempo chill-out designed to ease a tripped-out mind. Emerging custodians of that sound here include DJ Nicomatic, James Speck (on the splendidly named Korg Kaosillator) and Tim King (guitar), who collectively – under the moniker Electronic Universe – are perhaps Phnom Penh’s first and only live ambient fusion outfit. Joined for their first all-improvised show earlier this month by flautist Anton Isselhardt, their second gig will feature trombonist and could involve everything from Tibetan bowls to a singing saw. Says King: “When we’re doing this, I feel like Nico is the mothership and we’re just little spaceships flying around him, interacting.”

WHO: DJ Nicomatic, James Speck (Korg Kaosillator), Tim King (guitar) and Volker Müller (trombone)
WHAT: Live ambient fusion
WHERE: Meta House, #37 Sothearos Blvd.
WHEN: 9pm August 22
WHY: “Ambient Music is intended to induce calm and a space to think” – Brian Eno

Vibe

THURSDAY 22 – SUNDAY 25 | Some 50 of the capital’s finest musicians have assembled for Vibe, a ten-day music festival ending this week that features upwards of 17 bands. It’s carved up into three ‘vibes’: Dancing & Bouncing (August 16, 17, 18 & 23), Cooling & Chilling (18, 19, 20, 21, 22 & 25) and Quiet Listening (24), the only night for which there’s a cover charge ($3, available in advance at Doors on Street 84 & 47 and The Piano Shop on Street 13 & 178). Here’s what not to miss:

7pm THU 22: Khemera, Akhia & Amanda Bloom
Doubling as frontwoman for post-hardcore band No Forever, 22-year-old Sam tonight goes unplugged, along with her guitarist Tim, in acoustic act Khemera. Watch out also for Akhia, a self-taught guitarist from the Philippines who will be channelling Chrissy Constanza, Alex Goot and Boyce Avenue. Amanda Bloom, meanwhile, arrives fresh from recording her second album, Atlas, which features Australian saxophonist Euan Gray and Malaysian Asia Beat drummer Lewis Pragasam. “The album draws its inspiration from my experiences living in Cambodia for the last two years and is a melting pot of world, classical and piano-driven melodic pop music,” says Amanda.

9pm FRI 23: Jahzad & Lady Bluesabelle
Mixing their danceable rhythms with popular jazz tonight are some of Phnom Penh’s most talented musicians, among them Sebastien Adnot (bass), Sam Day Harmet (mandolin), Greg Lavender (drums), Euan Gray (saxophone) and Alexandre Scarpati (trombone). Known collectively as Jahzad, they promise an evening of “infectious beats and tasty horn lines”. Afterwards, expect from the lovely Lady Bluesabelle everything from Caribbean and funk to electro swing and Afro beat.

7:30pm SAT 24: Master Kong Nay & Krom & VJ Roberto  
Silence is indeed the only way to greet the work of Krom. The tune She’s Seven Years Old (Her Body Sold), from the band’s forthcoming second album, Krom – Neon Dark, is perhaps the single most disturbing item on the Vibe menu. It recounts the true story of a young Cambodian child sold into sexual slavery and was described by BBC broadcaster Mark Coles as “Harrowing; a very disturbing, powerful song.” On an ever-so-slightly lighter note, Krom will also perform material from their first album, Songs From The Noir, and the ethereal vocals of Sopheak Chamroeun and her sister, Sophea Chamroeun, for which the band is famed. Even more famous is master musician Kong Nay, one of the few to survive the Khmer Rouge regime: a man known in certain circles as ‘the Ray Charles of Cambodia’, who will be joining Krom for several songs tonight.

8pm SUN 25: Charlie Corrie, Euan Gray & Friends
Drawing on the sounds of Smokey Robinson and Sam Cook, with a dash of James Morrison and Gavin Degraw, is self-taught pianist/guitarist Charlie Corrie. And Euan Gray, frontman of Brisbane-based band The Rooftops, has promised his first all-original solo: “It will be some Rooftops stuff, some non-Rooftops stuff and possibly some new stuff.” You heard it here first.

Got riddim

FRIDAY 23 | Named in honour of Fender’s Leslie speaker designed for use with electric guitars, Vibratone are a new all-original reggae band in town, featuring among other locally based talent Luis ‘El Brazilero’ (drums), Benoit ‘Schkoot’ (guitar) and Maia Diokno (vocals).

WHO: Vibratone
WHAT: All-original reggae
WHERE: Slur Bar, #28 Street 172
WHEN: 9:30pm August 23
WHY: Dem got riddim!