Playing traditional Thai music is how I got my start. I played ranad ek (Thai xylophone) and gong before I played guitar.

I quit traditional Thai music after seeing my friend play rock on stage. It was so cool. I wanted to have a band just like that, so I formed one with my friends in grade nine. We eventually won best band at the school in grade 11.

Music wasn’t my biggest dream. I quit music when I went to study arts at Chulalongkorn because I wanted to focus on my education. I just played guitar to relax.

The Coke Music Award was my turning point. I saw many bands playing the same kind of music, fusion jazz. The funniest thing is that they were also all dressed the same!

It’s good to be different. It’s boring when all bands do the same thing, so I decided to form a band with my friends (Pong and Methi) in order to perform the noisiest music at the next year of the competition. In the end, we won. We then released our first album, Moderndog-Sermsukparp, on Bakery Music in 1994.

I was extremely nervous after the big success of our first album. I decided to pack my bags to go study song composition in New York. As a 22-year-old man, I was afraid that I wouldn’t be able to write any more cool songs. Really, though, it was a pretty useless thing to study, as I knew how to do it already.

Bakery Music was a miraculous lineup. It’s like when you hear about those stars that only align once every 2,500 years or whatever. It’s amazing to have 6-7 great artists together at the same time.

The decline of Bakery was something I was afraid of. I warned the Bakery execs that they should stay a boutique record label rather than play the major label game. But I was just an artist, and truth be told, my opinion wasn’t important enough.

Launching a record label has never been in my plans. Taking care of others is tough. It requires a highly sensitive intellect because the product is human, not just a song. I’m much better suited to being a creator than taking care of other creators. Moderndog is one of the foremost indie bands in Thailand because we have no label so we never have to bow to pressure to release an album.

Songs are pretty much freebies nowadays. Releasing an album is like burning your money. You release a song one day, the next day it’s available for free download.

We’re struggling to accept a new system whereby artists release singles all year-round before putting out a proper album. We’re accustomed to writing songs and going to the studio to record them, 10 songs in a row.

My perception of being an alternative musician includes singing pop songs. It’s about freedom of choice. Back in the 90s I might have been known for playing in an alternative rock band who loved to jump around, but that’s not the be all and end all. I love grasping new opportunities, and playing with an orchestra is one of those.

Orchestras are so energetic. It’s a whole new dimension of music that is so powerful, layered and beautiful. I’ve performed as a guest for an orchestra before and it touched me deeply. So when I was asked to create a concert that’s all about me, I decided I wanted to sing with an orchestra. I work with Trissadee Na Pattalung for the show, too.

I’ve slowly become an observer of my life. I’ve learned to step back and absorb the things around me, and this has really impacted my songwriting.
Music is just a tool to explore my life. I’m actually interested in life, itself, more than anything else, and I use music as a way to find the answers I need. Dharma is a big help, too.

Dharma and entertainment are actually the same thing. It’s all about how you balance yourself in the real world. Dharma can help you get through anything.

Let yourself fall. I’ve been successful since I was young as I was great at school, good at music and being famous. But it’s been stressful because through all those successes I was so afraid to fail. I’m always fearful that I won’t meet the high expectations that I, in fact, set for myself.

Yoga helped me learn to fall. I used to do headstands for more than 10 minutes and even though I was tired I wouldn’t let myself fall. My trainer noticed how tense I was and told me to let myself fall. It’s a necessity of being human.

Playing concerts is my exercise now. I don’t get much exercise anymore, so I always put all my energy into my performance.

I love to paint. Performing music is a way of communicating with an audience, but painting is about communicating with yourself. I’ve spent lots of time in recent years creating art and luckily it has sold, too. I want to continue following this passion even more in the future.

Seize the moment. Find your balance in life and enjoy every moment.
 

How did you become Stoondio?
Composing songs has been my favorite hobby since I was in high school. Luckily, I got the opportunity to work with the Monotone Group for a time. But after landing a routine job as a graphic designer, I had to keep my music as a hobby. Then, I asked Joy, my co-worker, a writer, if she wanted to join me to write songs. That was the starting point of Stoondio.

What convinced you to take your music outside of the bedroom?
I just wanted to share my songs because I liked them so much. After uploading “Untitled 001” to YouTube, I sent it to Bedroom Studio and things just developed from there. A few weeks later, people started really paying attention. I have to thank DJ Wararith “Rith” Mangklanon for airing my song on the Song of the Day and Bedroom of the Day programs on Fat Radio. The audience’s response has been incredible and has led to even more airplay.

Tell us about how you compose your music.
I’ve composed all of my songs using the GarageBand application, as other programs are just too difficult. At first, I put the lyrics and melody together by recording guitar, which is the only instrument I really know how to play, and then I randomly play keyboard sounds, like “ding ding ding” and figure out how it will best fit my song. That’s how I make music.

Where do you get your inspiration?
I am not a big dreamer; I prefer to live in reality. For example, the songs I’ve written are all derived from my real-life experiences, not dreams. I prefer the definition of music as an emotional thing that the writer lays bare. I don’t really think too much about setting goals when I write songs. I appreciate the attention I’m receiving. I didn’t expect it, but only good things can come from it.

Is music your main focus now?
I don’t think about it as my main career as such. I’d like to keep it more as a hobby. I understand that the music business often forces musicians to change their style. But if people like my song, it means that they like the real me. On the contrary, I see graphic design simply as a job. Clients can criticize it all they want and I will fix it. But for music, I want to keep it in my own personal space.

What’s the story?
Five years ago, my husband and I felt that there's no one site which captures the promotions, sale, and warehouse sale around Singapore. During weekends, we often had to visit various websites to decide where to go for our shopping fix! Then an idea struck. We thought, since we were already doing research on sale, why not take an extra step and consolidate them in a blog? That way, our friends and families can also assess the information readily. This was how Tua Lobang came about.

What’s the niche you’re trying to fill?
This is a personal venture, so we’re not trying to fill any space in the market. We merely want to capture sale events which are happening in town so that people can just get information in one place. But my husband and I hold full-time jobs, and we can't possibly capture all promotions and sale. We update Tua Lobang on week nights and weekends. And we don't sell space to anyone. Everything we post are contributed by our readers, some vendors and our own efforts.

How did you come up with the name?
Tua Lobang wasn't the initial name but we wanted something catchy. It’s especially apt, albeit unusual, for the site (since it meant big bargains in hokkien). People often ask us repeat the name in disbelief. It’s a name people will remember.

How do you pick the events you feature?
We started off featuring everything and everyone. But after one year, we decided to focus on mainly sale/discounts at a physical shops, especially brands we are familiar with, or online travel deals. We don't advertise blog shops and lesser-known names as we are concerned if they are genuine. Our rule of thumb:  if we will buy from the store, we will post up their sale. We also do not feature lucky draws or promotional campaigns to help others promote their website or social media page.

How many visitors so far?
We get an average of close to 2,000 visitors (not unique) daily. It’s encouraging for us as we are really using our free time to bargain hunt for our readers.

What’s been the most challenging thing about getting it going?
Time! Both of us have full-time jobs which do require OT at times, even on weekends, but we make time for the site wherever possible. People get upset with us when we couldn't put up sale events in time. Some wrote nasty comments on our comments box, and it’s discouraging to read. We wanted to give up the site several times as we don’t make money out of it. But we press on for our regular (silent) visitors. Perhaps with the growing number of similar sites we just might call it a day, if we have no more visitors.

Tell us a bit about how ArtdeGround came into being.     
I discovered lots of art galleries and stage crews around my university [Thammasat] that so many people seemed unaware of. So much of this art contained very real social and cultural value. I felt a need to get involved, so I started an art community which later became ArtdeGround. I want the group to be a real social enterprise and this idea was recognized with a Thai Health Promotion Foundation’s 20 Best Ideas Award. Later I met Chai at a stage workshop hosted by Crescent Moon Theatre, and I asked if he wanted to join us.

So what exactly is your focus?
Basically we host and run a Facebook page (facebook.com/ARTdeGround) for art lovers focused mainly on contemporary art. We post and share stuff that we’re interested in, including upcoming art events in Bangkok. We then pick one activity and ask our followers to join us on an art tour, which we film and air on our YouTube channel (www.youtube.com/theartdeground). These art tours have been our main thing so far, but now we are launching our own art projects. We plan to put on two performances this year, the first of which is Ocean Butterfly. We will also run occasional workshops, like drawing therapy and special art classes for kids.     

What’s the inspiration behind Ocean Butterfly?
Ocean Butterfly was borne from a curiosity with Thai fantasy; if you talk to the younger generations, fantasy is all about witches and zombies. Thai fantasy is not so popular among children because it is always presented in an old-fashioned way. If it were not included in the school curriculum, it would surely go extinct. That inspired us to do a modern reinterpretation of Pra Apai Manee, long considered one of the great works of Thai literature. We tell the story through the eyes of Pee Sue Smut, the ocean beast, whereas normally Pra Apai Manee is the main character. We also add in 3D techniques for that supernatural touch, but keep the original poetic dialogue.                

What’s next for you guys?
Our next performance, Transaction, will run later this year. The story will combine two sciences seemingly at odds—economics and art—presented through physical theatre. ArtdeGround will develop the show, as economics is my profession, while for the performance part, we are collaborating with Thanapol Wirunhakul, a dancer and choreographer who has worked with many stage troupes like B-Floor. It will be a whole new thing for our art scene.
 

First off, how does it feel to be loved so much in a far-off place like Thailand?
We really had no idea that we have any fans in these parts, and I won’t really believe it till I see actual humanoids at the show. But it’s awesome if it’s true—the internet is crazy!

In Bangkok, you’ll play two sets on the one day—one acoustic and one electric. Does this pose a challenge to you?
It actually makes total sense, considering that we went from more acoustic to more electric, and it makes it easy for us, we have an excuse to play old stuff. Sometimes it’s difficult to design a set that mixes the old with the new, this way it’s like having one of those plates with the little compartments that separates all the food for you, no cross contamination.

You’ve being quoted before as saying Dodos are first and foremost a live band; do you still stand by that? What should fans of your recorded work expect?
I don’t know why I said that. Seems like an obvious statement, but I suppose it was probably early on when being in the studio was more of a mystery to us. Capturing what you do live is something that takes a lot of work and even luck I’d say, it either happens or it doesn’t. I feel like we’ve moved away from trying to recreate what happens live to just focusing on making a good record. It’s a total different experience and that’s a good thing, otherwise there wouldn’t be any surprises.

What’s the best thing about being on the road?
Life gets really simple when you’re touring, and it can feel like a vacation from your brain. Everyday is decided for you, and all you have to do is take care of your health, try and find some moment in the day for yourself, and perhaps eat something good. It doesn’t sustain itself forever because at some point you start to miss the things that really matter, but it’s a healthy way to be for a while.

Any weird touring experiences?
I remember doing a live session for some TV thing in the UK at like 6am in the morning and we were in this tiny box of a room, sweating profusely and playing toy versions of our instruments to be broadcast to thousands of people in the hope of promoting our band.

It’s been a couple of years since your last album, No Color. How’s the new material coming along?
We’ve taken a lot of time to regather ourselves before trying to write again, and it feels really good to be working on new stuff. We’ll have a new record out this summer and we’re working on another one to come out afterwards. I wouldn’t say there are any great leaps, but we tried a different approach this time and it certainly feels different. I really wanted to work on my songwriting before trying to do another record and hopefully it will show.

Your 2008 album Visiter gained you a lot of exposure, and your last two weren’t quite so well received. Do you feel less or more pressure when writing and recording now?
There will always be the pressure we put on ourselves regardless of how a record is received. I used to think it had more to do with what the expectations are, but after having experienced it from both ends I’m pretty sure it doesn’t matter. There are a few people who I really, really care what they think—that’s enough pressure already!

On your last album you worked with Neko Case; how was that? Who else would you like to collaborate with?
It was rad. She is rad, and we were very lucky. I want to do a record with Trent Reznor.

We read an interview with you prior to No Color coming out and you seemed rather apprehensive about how it would shape your future career; are you in a good space now?
We were dotting a lot of I’s and crossing a lot of T’s with that record. It left us with a great question mark that I feel we’ve been able to answer at least for the moment, and though my apprehension is still there we’ve had enough time away from music to form our own ideas about what we’re doing and it feels right.

 

How did you become Fellow Fellow?
Khao: We studied product design together at Rangsit University. We both loved the same genre of music: soul-pop like Bakery Music put out. It’s hard to find people my age who like this kind of music, because they all prefer rock bands such as Bodyslam or Big Ass.
Tee: When I learned that Khao could also play music, I asked him if he wanted to play with me. We didn’t want to be a big band, so we decided to play as just the two of us. Then we decided to upload our songs on YouTube—when the people at Sony Music saw them they called us up to join them. Our total views hadn’t even reached 3,000 yet!

What’s the story behind your single’s name?
Tee: I found that often when a couple fight, they choose to stay silent rather than talk openly about what’s happening and to solve the issue. When I told Khao about this observation he went and put it into words.

What do you make of the Scrubb comparisons?
Khao: Well, I kind of understand them; we are both duos and we also wear glasses like them. But if you listen to our songs, we are very different from them. They are more rock while we are more easy listening.

What do you normally do apart from the band?
Khao: I work as a composer. Apart from that I also have to take care of my yakiniku restaurant, Shinkansen, that I opened with my uni friends when I was a student.
Tee: I work as a session pianist and guitarist for other artists. I also help with my family business, VRH, producing faucets. I’ve loved drawing and design since I was young, so I enjoy the job. A set of faucets that I designed, called “Radian,” won the Red Dot Design Award in Germany in 2010. But now, I just want to focus on what I really love, and that’s music.

What have you learned from your business experiences?
Tee: From working in design, I’ve learned that even though something may look good, it might not be practical production-wise. Now, I pay more attention to all aspects of the process.
Khao: Running a restaurant is really tough. When we decided to open a small grill restaurant, we thought it was going to be easy. But in fact, we’ve had to deal with all kinds of troublesome customers and staffs. Money issues can really affect friendships too.
www.facebook.com/fellowfellowpage

I love singing. My mom taught me to perform since I was three years old and I started entering singing contests when I was six.

Singing luk tung was a constraint for me. I’ve always loved to sing pop songs, but I ended up singing luk tung for the money, until I won the Panasonic Star Challenge in 2004.

Singing contest competitors are real fighters. Taking part in such contests has given me great strength in my life. That’s why so many of the winners get jobs in this industry.

I create my own opportunities. Though I was signed to RS as a pop singer, I decided to change my style to luk tung. I grabbed my luk tung songs and walked to R Siam to offer my talents.

If you can sing luk tung well, you can probably sing any kind of song. You must be both powerful and gentle to convey both sadness and happiness.

Living alone in the big city is tough. At the age of 15, I packed my bags and left my home in Hat Yai to stay in Bangkok and realize my dream to be a singer.
I had to wake up at 5am to go to school and then went to rehearse at RS every evening. On top of putting so much pressure on myself, there were also so many temptations that could have led me astray.

You must act like a chameleon in order to survive in the big city. You have to be smart in adapting yourself to the various social circles. And that’s what I’ve done.

Hold onto your values. I’ve seen many bad things living here alone. But I’ve stood my ground. You can’t choose to be born but you can choose how to live your life. If you choose only good things, you will have a good life.

Artists must have a unique character. RS didn’t create my sexy looks. It’s all me. I love to dress up and express myself. I wear shorts because it’s my inner character. I know that I look my best in shorts.

Not every woman can be sexy. It’s not just about showing your assets all the time. A truly sexy woman can dress in a modest gown and you still see the beauty in her eyes, her movements, even her lips. It all adds to the sex appeal.

If you get things easily, you’ll lose them easily too. For me, it’s tiring to be up on stage earning money, but at least I really know the value of that money and the value of myself.

People always say that I’m famous because of my looks. But the truth is I’ve been touring nonstop for three years. People loved watching my show long before I made the news as a sexy singer.

I’m blessed that my boyfriend [Pattanapol “DJ Man” Dechkunchon Na Ayutthaya] ignores all the negative press about me. That could really put a strain on our relationship, but he understands that being sexy is part of my job as his mother used to be an actress too.

I don’t see celebrity gossip as a bad thing. It’s natural for people to want to learn about others’ lives, especially about people in the entertainment industry. We can be role models to their children, and that’s why they keep an eye on us.

Don’t judge others by comparing them to yourself. You don’t know what they’ve been through. That’s why I’m not bothered by all the criticism I receive.

Music must be adapted to the times. Many think that luk tung should remain conservative and not be conveyed in a sexy way. But music should have no boundaries. If you go to a luk tung concert nowadays, people always request “Kan Hu,” not old-school luk tung songs. Although the sexy gestures of that song were a bit too explicit in my opinion, it shows that half the population still love modern luk tung.

Respect yourself. When I look in the mirror, I see a lady that’s worth B100,000 a show. Of course, everyone around me plays a big part in this, but what it comes down to is all my effort.

I want to open a hotel or launch a record label. I love traveling and I want to encourage more people to find beauty in their lives. As for the record label, I want to use my experience to help more young singers find success like me.

Luck can only get you so far. People might say you have to be lucky to get famous. But for me, luck and destiny only account for 10% of my success. My own two feet brought me here.

Gratitude is important. People may know you because you’re famous, but people will really support you if they remember your gratitude.

Why do you think it is important to conserve old buildings?
Cities can only be rich if they are layered with the architectural tales of many generations past. Progress doesn't mean newness at the expense and erasure of the past.

What’s special about Macalister Mansion?
We employ a greater and more sophisticated design philosophy that generates newness from the layers of history. Our Macalister Mansion project doesn't just involve existing historic architectural cues. It tells history, with the tale of Norman Macalister as an underlying narrative. In a way, history itself has been “adaptively resued”!

What’s the biggest challenge when outfitting a new heritage project?
Heritage buildings come with an original use and spatial planning. It takes quite a lot of creativity to work within these constraints and adapt it seamlessly to the building's new function.

What’s your main aim when working on a colonial building like Macalister Mansion?
With Macalister Mansion, the end aim was to strike a good balance between nostalgia and relevance for the future. Against the backdrop of a conserved mansion, the heritage spaces have been carefully adapted. Key features have been conserved and infused with contemporary design. 

What are some examples of ways Ministry of Design balances modern convenience with old school charm?
Entering the hedge-lined driveway, guests are welcomed by an oversized 2.5 meter high fractal bust of Norman Macalister—a modern reinterpretation of the colonial artefact—which is juxtaposed against the elegant grand dame of a mansion. Another example of new against the old is in the reception. The entrance features the building’s original ornately designed doorway and a reflective copper reception bar, with video art by Mansoor Ramli—a collage of abstracted Penang scenes accompanied by an indie electronic soundtrack.

Ministry of Design worked on Penang boutique hotel Macalister Mansion.

How do you think the dating scene in Singapore compares with that of other countries were Lovestruck has a presence (like London and Hong Kong)?
There is a certain level of reserve that exists throughout Asia, and Singapore is no different. We've seen this firsthand at our events, and had to employ ice breakers to go around introducing singles to one another. We don't have to do this in the UK! Furthermore, it appears that it's always down to the man to make the first move. Part of this can be attributed to the ritual of local Singaporean dating. It can be a very slow, drawn-out process.

What would you like to see more of in the Singapore dating scene?
More “chemistry test” dates—coffee dates, lunch dates, after-work dates and during-work dates! Keep it to an hour to see if the chemistry's there. 

What’s the funniest pickup line you’ve heard?
Guy goes up to girl and says, “Feel that,” pointing to his shirt. “That's boyfriend material.”

What’s the most interesting success story you’ve seen come of Lovestruck?
My best friend got married from the site last year. Of course, being Best Man gave me the opportunity to plug Lovestruck the whole day!

What should daters never do? What would you say is the biggest turn off?
Key deal-breakers on first dates are body odour, bad breath and rudeness. Not far behind this trifecta of first-date horrors is nose-picking. The final one is a real sign of the times: Your date should be your sole focus for the next few hours, so don't check your smartphone unless you absolutely have to as it will make them feel unimportant. We've all got aspects of ourselves that we'd like to improve—after all, nobody's perfect—but if you can avoid all of the above, then your chances of first date success look good. To really ensure it's not a first date fiasco, I advise you to turn up on time, avoid splitting the bill, dancing—if you can't—and kissing badly.

What’s a guaranteed way to get a man or woman’s attention?
Your eyes are the simplest and easiest way to let someone know that you are interested. A few glances should suffice, but don't overdo it. Also, try replicating their behaviour to build a connection—even if both of you are sitting far away from each other. Look good and dress well—wear something red—and try and get across this: “I am fun and love my life. Come into my world.”

Brett Harding manages dating website Lovestruck.

What do you hope to achieve with this event?
To preserve artisanal craft and heritage for the next generation, create opportunities to professionalize the street food industry, and delve into new ways to strengthen the scattered and fractured street food players worldwide.

How long did it take to plan this event?
Two years!

You’ve got quite a line up of guest speakers. How did you approach them to join the project?
These are people who are captains of the industry and movers and shakers in their own right. Many of them are good acquaintances of event creator and curator KF Seetoh. He personally paid a visit to each of them and sought their views and advice on the potential of this movement. No one declined and many more came and offered their expertise once word got around.

Which speaker are you personally most looking forward to hear from?
Professor Simon Tay from the Singapore Institute of International Affairs (SIIA). He is from the SIIA—which is dedicated to the research, analysis and discussion of regional and international issues—and he’s speaking on street food culture? I’d be very interested to know how this connects with what he does!

What was the most upsetting thing about the current street food scene?
The fact that street food culture isn’t more loved and isn’t institutionalized. You can’t go get professional training and few have access to opportunities to learn.

How do you hope the World Street Food Congress will grow?
We hope to have the World Street Food Congress in San Francisco, Mexico or even Israel one day and to be a truly global event, with countries and partners who believe in what we do.

The World Street Food Congress is on May 31-Jun 9 at the F1 Pit Building.