I’ve loved music since I was very young. It started with luk thoong songs on my mother’s transistor radio then international music from the 50s and 60s when we got an FM radio.

The disco sound arose in the 80s while I was studying at Hat Yai University. My favorite band at the time was called The Position; I didn’t miss a single gig.

Then this one time, the DJ stole the show. It was DJ Noo Somkiat Chuangnisai, the Thai DJ Champion at the time. He totally blew away my favorite band. That’s when I knew I wanted to become a DJ.

I asked him to teach me how to DJ after I had been to many of his gigs and got to know him.

I dropped out of school to focus on DJing but I went back at my parents’ insistence. They convinced me that I should finish my studies and hold onto my Muslim roots. I got back into the DJ scene after graduating in the early 90s.

DJ Wasana Wirachartplee’s radio show was then the only one playing the new wave of alternative bands like Blur, Suede and Manic Street Preachers.

I realized we didn’t have enough coverage of this growing music trend. So I went to see DJ Wasana and told her I wanted to start GT Magazine (Generation Terrorist). I picked the first 10 people who answered a question on DJ Wasana’s program to be the writers.

The alt-era was all about being creative. So in starting something I had to make it fresh. I’m not a graduate in journalism or mass communication, passion alone drives me. The first issue of GT was produced on a PC.

The magazine wasn’t just about music, but offering a different perspective, an alternate lifestyle, and encouraging people to think outside the box and dare to be different.

We didn’t make a profit since there was never many ads in GT. I just wanted what I was doing to inspire people.

GT stopped in 1999 because we had huge debts. I returned to being a club DJ and started writing a column at Matichon Weekly.

The 90s was a time of no boundaries. People were open to new things. Bands could be independent; they didn’t have to be handsome, they could just produce the music they liked.

Songs from the 90s helped make me who I am today: a writer, DJ, music director, lecturer, producer and remixer. I was given the chance to release my own album and spin alongside world class DJs like Fatboy Slim. It was such a great experience.

Smallroom and Spicydisc are not indie record labels anymore. But the way they started out means they have more of a music mind than a business mind. So even though they’ve found mainstream success, their music still has a touch of independence. Bands like Greasy Café and the Rich Man Toy that mix luk thoong with rock, these guys retain their originality.

No matter what you do, just be clear on who you are and you’ll be a success.

All the bars in Bangkok play the same music. It’s understandable that people aren’t open to new things when they don’t get any variety. If you’re a DJ or band that lets a businessman tell you what to play, then you’re not a real musician.

Bands in Burma and Vietnam are hot right now and take lots of influences from England. Thai bands must be wary not to lag behind.

Our music industry will become more competitive and fun after we become part of the ASEAN Economic Community. Indie will rule again because of a renewed musical focus.

I want to promote original Thai groove. Thai music master Khru Euah Suntornsanan had the most influence in introducing this sound, which combined Thai lyrics with international tunes.

We had a lot of talented musicians in the 70s like Chai Muangsing and Waiphot Phetsuphan who led the way for Thai funk. But something happened in the late 80s and now only Thai-pop remains.

Japanese rock and K-pop wouldn’t be as popular as they are today if we could strengthen our own signature sound.

I’m working with the Ministry of Culture to refresh our musical history and educate the new generation on our roots.

Artists like Amy Winehouse, even Lady Gaga and Madonna, take influence from their respective musical heritage.

We don’t have this heritage because even those in charge want to bury our own musical past.

As long as I’m still alive, I am certain Thai groove will make a comeback. I dream of bringing it back for our children’s benefit.

Song: “Dancing”

Artist: Musketeers
Label: Believe Records
After releasing a debut album packed with hits like “Kong Kwan” and “Kwam Song Jam” a few years back, slick rockers Musketeers return with a follow-up, Uprising, which finds the four-piece in an altogether lighter mood. The lead single “Dancing” reflects this, with its upbeat melody and bright, inspiring lyrics—and just a touch of 70s Brit pop sensibilities.

Song: “Pa Son Nai Hong Mai Lek Neung”

Artist: Greasy Cafe
Label: Smallroom
It seems like he’s been around, but Lek aka Greasy Café is the man of the moment having just made his acting debut in Kongdej Jaturansaramee’s mind-bending P-047. And his latest single, which appears on the film’s official soundtrack, finds him in top form. Opening with subdued piano and Lek’s gruffly sincere vocals, it slowly builds to an emotional crescendo that’s neither overwrought nor heart wrenching. Rather, the track’s powerful post-rock sound and searching lyrics are a perfect fit for P-047’s existential themes.

Song: “Addicted”

Artist: Noah’s Tape
Label: Independent
Having been lucky enough to catch Noah’s Tape at the Popscene live sessions a couple of times, and as opening act for wild US rockers Black Lips earlier this year, we’re elated that they’ve finally committed some songs to tape (well, CD). Their debut self-titled EP, out this month, was produced and composed entirely by lead singer Jessica Nay. The first single, “Addicted,” finds the Britpop-inspired band taking the well-trodden acoustic pop route. But there’s nothing pretty or romantic about it, with Nay delivering some pretty devastating lines in a grunge-inflected voice dripping with misery. Heartbreak rarely sounds so appealing.

Song: “Bod Pleng Wan Sao”

Artist: Blues Bar
Label: Lemon Factory
Former Day Tripper frontman Wasit “Ooh” Mookdavijit sure keeps himself busy. Hot on the heels of releasing an album with Ooh & the Ballyhoo last year and composing the lyrics for DJ Suharit’s latest single “Love Lies Bleeding,” here he joins with former guitarist of Banwagon, Oud Pravaj, to become Blues Bar. The duo’s new single, “Bod Pleng Wan Sao (The Bittersweet Song),” takes noticeable cues from 80s rock ballads with lyrics that talk about dredging up bad memories. The gritty, slightly dissonant guitar work strikes a nice balance with Ooh’s romantically delivered vocals.

Song: “Kon Tee Mai Bok Pan”

Artist: P.O.P
Label: Love is
After eight years away from the music scene, Nop Pornchamni, Tong Montien Kaewgamnoed and Notapol Srichomkwan have reunited to deliver more soothing soft-rock under the name P.O.P. Not only will they be joining the line-up at this weekend’s Sonic Attack, but they’re collaborating with Somkiat Ariyachaipanich and Jerry Milindavanij to produce a forthcoming studio album. This teaser single is exactly what you’d expect (and not unlike their previous hit “Kong Tee Dern Pan”): all multi-layered vocals and sweet, sweet melodies.

Song: “Ti Da Pra Jam Am Per”

Artist: The Richman Toy
Label: Smallroom
You’ve got to admire the way The Richman Toy keep coming up fun with new spins on their sound. They might look like your standard rock outfit, but in the past they’ve infused their songs with touches of funk, country and unique singing style from the frontman, Jap. This first single from their new album gets even more interesting with not only a hook that employs the traditional luk thoong singing style, but a breakdown that involves a few choice lines of pleng choi. The end result is all the more hilarious due to the fact the lyrics tell of a guy learning to sing luk thoong to impress his crush.

What’s your musical inspiration?
My experiences in life, the things I learn and my true love and passion for music—mainly hip hop.

Describe yourself in three words.
Hip hop culture.

What are your musical guilty pleasures?
80s pop and rock, as well alternative music and R&B love songs. I only consider these to be guilty pleasures because my audience probably assumes I listen to nothing but hip hop, but I love all types of music. It can be a shock for people to hear the different things I play when I DJ. They don’t understand that my music is really derived from many different genres.

Your best gig?
My mother’s party in 1982 when I was only 12 years old.

Best gig you’ve ever been to?
A show at the Apollo Theater [in New York] where I saw Stetsasonic and Big Daddy Kane.

You won a Grammy with De La Soul, are there any other awards you would love to have on your shelf?
Winning was so surreal, even though it was from a collaboration on the Gorillaz record. I would love to win more but that’s not my focus, granted being at awards shows is really exciting because I get to see so many celebrities.

What can we expect from your upcoming gig?
I’m going to play for the dancers and give them my rendition of what the B-boys and B-girls danced to when I was coming up, as well as some new stuff that I like.

Are you working on any new projects?
Yes, we [De La Soul] are working on a new album entitled You’re Welcome and I’m working on a solo project entitled DJ Conductor LP on which I will be receiving production input and direction from Ali Shaheed. Also, Ali and I plan on putting in some studio work while we are in Asia because there are a couple of artists we feel deserve a shot at the mainstream music fabric. We are hoping to be the new tag team producers in hip hop.

How would you like to be remembered?
I would like to be known as the guy who brought tremendous joy to the world through two turntables, a mixer and a microphone.