What was the inspiration behind the group's name? 

We started out with the name 'Voodoo', and changed it a few years on after realizing it's quite impossible to achieve an online presence with a name like that. The reason behind 'Voodoo'—we like the mysticism and intensity it invokes. We also like how drumming is an integral part of the voodoo culture in many places. 'The Voodoo Sound' feels like a good fit as we are the type of band who'd like our audiences to 'get their freak on' with our music.

Describe The Voodoo Sound's music in three words.

Raw Intensity: Redefined.

The band consists of ten members—do you guys fight often?! 

We fight A LOT. Just like married couples. But when the dust settles in the studio, it forms solid grooves and uplifting melodies. Then we go out for teh and prata.

Who are some of your musical influences?

Our original sound is built mainly of the genres rock, hip hop and funk. Rage Against the Machine with Linkin Park, AGAM and The Roots thrown into a blender. However, being a 10-strong band, our personal influences are wide and varied. You can find bits of electronics, metal and post-rock in our music. A distinct and delicious flavor!

What has been The Voodoo Sound's most memorable performance thus far?

It's a tie between a gig at the Esplanade Outdoor Theatre in early 2013, and a performance at BTNK (KL) in December 2013. The spaciousness of the Esplanade is a breath of fresh air—there's capacity for everyone to go crazy and deliver a big sound. On the other hand, the gig at BTNK is special because it was the first time we traveled together as musicians. All 10 of us! We learned a lot from this experience—there was fantastic energy throughout the trip.

Are you guys excited about the upcoming Culture Clash Festival?

For sure! We will be launching our EP then, and there is no better way to celebrate this than with everyone else at the festival. We are also excited about how our show will be received, as we have some new tricks up our sleeves!

What do you think The Voodoo Sound will be like in two years' time?

Wiser, fuelled and ready for the world.

Catch The Voodoo Sound at the upcoming, much-anticipated Culture Clash Festival on March 22.

How do you explain Twofold?
We help users share skills they are proficient in and earn some money. In the process, they meet new people, educate them and learn more about themselves too. The ease with which people can access a plethora of information on the web right now is frankly quite amazing.

Where did the idea come from?
While in university, both of us attended multiple training gigs but realized the majority of what was taught was quite useless. We were on a beach in Bali when we decided to give it a shot. The plan was to create a user-friendly platform that could allow anyone with advanced knowledge or experience to step up and share it with the world.

What are some of the more unexpected career-hobby combinations you’ve dealt with?
We’ve have a regional sales manager who DJs, a teacher who does 1-on-1 pole dancing lessons and banking folks who teach cosplay costume creation.

Any words you live by?
Keep on sailing. Men of the sea are used to unstable turf—they can adjust the winds and seas. Men on land should be the same.

To curate, is to care for the soul of things. Interestingly, the term has religious roots—it originally referred to a priest’s care for the spiritual and psychological needs of his village.

This is going to sound quite dire, but there’s almost always a “crisis moment” going on at work. There are a lot of things happening here at once.

Everything has to be perfect. There are no excuses for shortchanging a visitor’s experience.

Artists are the way they are because they take their work very seriously. If you’re serious about art, you can communicate many things and even change the way society thinks.

For a long time, the government couldn’t see how art was relevant. But now, they do see that there really is such a thing as cultural capital.

My work day started before I’d even gone to sleep last night!

I believe we’re influenced by forces that we can’t measure. I believe in the unconscious.

I wish we didn’t have to think about Singapore in a segmented way, via mother tongue and race. All I see are dividing lines.

Sometimes when I’m talking to someone I suddenly know what astrological sign they are. That really worries me: How do I know that?

When a culture comes of age enough to look back on itself and figure out what it’s not prepared to lose—that’s when a museum comes about.

I run on idealism. If you want to make things happen, you can’t afford to be weak. You can’t afford to give in to your tiredness.

When St. Joseph’s Institution had vacated the building that is now SAM, I snuck into their library with a friend and we found so many books that they’d left behind. It was such a magical moment.

Everybody thinks I’m a Scorpio.

What keeps me sane? I try to see the light side of things—and the bigger picture. Nothing worthwhile ever was achieved easily.

When you put a Singaporean and a Parisian in the same room, what conversation would you get?
It would probably revolve around shopping, the best places to eat and the best bargains!

Can Singaporeans pull off Parisian fashion?
Paris is known as the center of fashion, and rightly deserves its reputation, being the birthplace for many stylish trends and groundbreaking ideas. Anyone, regardless of where they come from, can carry off these styles with the right sensibility and carriage. Singaporeans today are exposed to so many different influences and have a certain sense of boldness in putting their clothes together, and I have seen many who have embraced these trends, but have added their own touch to it to create their own unique look.

What were some of the unorthodox methods you used in sourcing costumes for this musical?
I delved deep into the backgrounds of the characters, and came up with signature silhouettes for each actor, drawing up a list of imagined places in which they shopped and their favorite designers. I cross-referenced these looks with the signature styles of certain Asian and Singapore designers, and enlisted their help in putting the wardrobe together. My team and I worked to source for contemporary pieces inspired by classic French looks, inspired by the likes of early-day Sonia Rykiel, Christian Lacroix, Yves Saint Laurent, Thierry Mugler and Claude Montana for the show. Whatever we couldn't find, we created from scratch. I also dug deep into my own fashion archive for vintage pieces from iconic French labels like junior Gaultier and Agnes B, to dress certain members of the cast.

What about wardrobe malfunctions on stage? Any contingency plans for that?
Wardrobe malfunctions happen all the time, both on and off-stage. I am lucky to be working with an extremely experienced cast, who would take each malfunction, if and when it happens and react naturally in character without disrupting the flow of the show. That's pure acting skill at its finest.

If you were tasked to design a uniquely Singaporean costume, what would it look like?
A country's national costume is something that's organic, evolving from its culture and lifestyle. It cannot be manufactured, or dictated. To me, one of the many things that are unique to us is the Peranakan culture, which is only found in Singapore, Malacca and Penang. If I was forced at gunpoint to design a national costume, it would probably be an attempt to juxtapose elements of the Peranakan roots into a contemporary setting. Think voluminous robes worn over a sexy figure hugging sarong kebaya-inspired top and a sleek sarong, dripping in jewelry, topped with a dramatic headdress and ending off with an amazing pair of bespoke beaded heels!

Witness all of Daniel Boey’s costumes come to life in A Singaporean In Paris. Mar 11-23, 8pm at The School of the Arts Drama Centre. Tickets at $40-50 from Sistic.

Many Singaporeans are clueless about West Coast culture and the underground. How did you guys start out?
Well there are many facets to West Coast underground. If you're asking about how we started in that scene we would have to credit The Good Life (TGL) and Rat Race for our growth. The majority of the group met at TGL which was an open mic night at a herbal vitamin business. Many great MCs were birthed from TGL. Stones Throw Records has done a good job closing in on truthful underground hip-hop artists as well.

How difficult was it starting out back in 1993? Who were some of your musical influences?
Very difficult—we were selling our music to a variety of labels with no luck. Before the Internet, it was imperative to have superb timing.  We caught that timing when a small labeled called Blunt TVT records signed us in an indie deal. We later released The Jurassic 5 EP which catapulted the group onto a larger underground audience and that resulted in our signing to Interscope records.

From your first single “Unified Rebelution” and the breakup to the 2013 reunification and now the global tour. You’ve been through a lot as a group. What keeps you guys grounded?
Being mindful that we have more to learn, experience and prove to the world—that would be my answer. I'm sure every member would have something different to say. For me, I always feel like the music rug is going to be pulled from under my feet so I have to stay rooted in my craft as a true DJ /Producer.

How has the seven years in between the break up and reunion served you guys?
The years served us very well. It was much needed. At the time we thought we needed to break up but it turns out we just needed a long break. We're able to enjoy our solo efforts and the group that shaped our careers simultaneously.

At the group’s peak in the early to mid-2000s, how crazy was it?
Not as crazy as it is now (laughs). Our reunion is living proof that people want what they can't have. The mid-2000's was very exciting because we were creating music from our hearts with the audience acceptance and no radio play. We proved to our label and the industry that you don't need a hit record to have a cult following. We'd tour for three to four months at a time until we felt like a difference was being made.

If there is one thing that Jurassic 5 should have done differently, what would it be?
For me, nothing. We're meant to experience what we went through—lived and learned.

What’s the focus for the group, moving forward in 2014? Are you guys looking at doing collaborations with other artists anytime?
There's a new song and video coming out soon that was previously unreleased. There are also talks of a DVD behind the scenes video that might come out. We're taking studio, collaborations and shows one step at a time. We're being selective in the process this time around.

What can Singaporeans fans expect from Jurassic 5 in March?
To show up and boogie with us. Come with an open mind and heart and enjoy the show.

In the larger scheme of things, what’s the meaning of life?
Loving, utilizing your talents, pushing yourself, helping when you can and treating yourself like a king.

Wise words for upcoming MCs in the scene?
Pick beats that suit your rhyme flow not what's popular. Follow your heart and remember that timing is everything.

How do you unwind after a long day?
I meditate and follow it with playing with my pit bull, King.

Jurassic 5 performs at Zouk on Mar 11, 8pm. Tickets at $85 from eventclique.

Can you tell us more about the interesting format of your upcoming play, #UnicornMoment?

We are including an online element for the show, which could be seen as either the beginning of the play or a supplement to it. These aren't publicity videos, but rather an attempt to start a dialogue with the audience. We're trying to use the best parts of both the internet and theater. 

Online, you're able to build a relationship over a period of time with your audience, as opposed to theater, where people just go home after watching the show. However, we also love theater for its immediacy. So, we want to see how these two relationships can feed each other. 

Who or what inspires you as a theater practitioner?

Wow, so many things. Watching people constantly create and push boundaries really inspires me. Plus, working with Checkpoint Theatre and seeing the faith they have in new writers is also very motivating. I still cannot believe that this show is happening! 

Describe yourself in three words.

I'm a unicorn!

What’s your greatest unicorn moment (most important lesson you’ve learnt in life) thus far?

That we all have our own version of the past, and that there is no true, accurate account. Perhaps what's more important is to understand why people see the past the way they do.

What about your most significant milestone?

This! Having the opportunity to work with such an amazing company and create a show like this. We haven't even completed the process yet, but I can safely say that this will be one of the things in my life that I will never forget.

So what’s the best way to find meaning in life?

If I knew, I wouldn't have to do this show. Hopefully I'll figure out the answer soon! 

Shu An's production, #UnicornMoment, will be staged at the Esplanade Theatre Studio from May 8-10. Find out more here. Also, follow Shu An’s journey and be a part of the conversation at http://bit.ly/1fmkPef . 

Your job is pretty glamorous. Is there a not-so-pretty side to it?

Bartending was my calling and I’m fortunate to be able to do something I love. If I really had to pick something, I would say the long hours take a toll. The job can be very physically demanding and late nights can be challenging.

What did you want to be when you were younger?

When I was a kid I wanted to be a professional basketball player.

Why do you think the alcohol industry is so male-dominated?

I think a lot of trades are male dominant, not just bartending. That being said, there has been a rise in female bartending talent and influential names in the industry, like Singapore’s Aubrey Sim and Julie Reiner from the US.

Words of advice for someone who’s interested in pursuing a career like yours?

Understand that this job has some amazing perks, but do not forget how much work is required on a daily basis to be a good employee, co-worker, bartender and then competitor.

The number one unspoken rule among bartenders is…

I can’t tell you, only bartenders know.

Can you describe Fourplay in four words? 

Shafie M. Haja: Enlightening, Exuberating, Exhilarating, Exasperating. 

Bhargav Sri Ganesh: Intense. Intriguing. Infernal. Innocent. 

J. S. Sasikumar: Fresh, emotional, sleek, simple. 

Who or what inspires you as a theater practitioner? 

Shafie: I am very inspired by the directorial vision of Ong Keng Sen. He is a man of vision and has directed several plays in an unorthodox manner. He defies convention and manipulates emotion and talent to produce a work. 

Bhargav: Mr Selva's (Artistic Director of Avant Theatre) artistic vision and bursts of creativity inspire me. As a writer, I also try to write about bold subject matters and provide alternative views about an issue. Ultimately, however, the issue must be close to my heart. 

J.S.: The need to achieve a balance in life—between the sciences and the arts.

Some unconventional themes, such as perversity, are explored in the four plays. What was the inspiration behind each play?

Shafie: I originally wrote The Banyan Tree on a Full Moon Night for a class. At first, people laughed at the first draft. I spent more thought on it out of provocation, and put in some darkness. Inspired by filmic techniques, I wrote it to be graphic and visual, as well as sensory. 

Bhargav: For Hangman, I was watching television one evening when it was announced that a heinous criminal would be sentenced to death for killing innocent lives. That piece of news inspired me to think about the psyche and mindset of a convict a few moments before he is executed. Five Steps is a play that's close to my heart. When I heard that the mother of one of my close friends was suffering from clinical depression, it affected me deeply. I witnessed the impact that depression could have on both the person suffering and the family. 

J.S.:  For Once More, I was inspired by events which happened around me, as well as in my life. 

Do you think it's a good thing when audiences get uncomfortable during a play? Does this force them to question previously held assumptions?

Shafie: It's a good thing if the discomfort draws attention to issues, rather than purely for entertainment purposes. Discomfort has several ways of unhinging an audience, and must be done appropriately and for a justifiable reason. Comfort makes a complacent audience' however, discomfort that puts them off thoroughly will defeat the purpose of enlightening them in any way. 

Bhargav: Definitely. In the words of Georges Braque, "the function of art is to disturb". For example, in Hangman,  the audience is confronted with the difficult proposition that if we all agree to the maxim that it is forbidden to kill, an executioner should be as guilty for his perceived "sins" as a heinous criminal. In Five Steps, it is quite disturbing to see a confident and successful woman wanting to take her own life. It makes us question if we know enough about our own family members and friends. 

J.S.: Only some plays will really pull the audiences out of their comfort zones and personally, I feel that it's a good thing. Sitting through a 45-60min play should allow you to experience something that you usually wouldn't under normal circumstances. This will force the audience to rethink previously held assumptions. They might even find out something new about themselves when they walk out after the play. You'll never know until you give it a shot yourself.

What's your moral code?

Shafie: Someone once asked me, "would you be nice, or right?" I replied, "nice". That is my moral code.

Bhargav: Live and Let Live. Everyone acts according to their own self-interest. It is important to acknowledge that and let others choose their path of action without interfering unnecessarily.

J.S.: I do what I feel is right. Sometimes it might not exactly be acceptable by society but I am who I am. 

What do you think is the future of the arts in Singapore?

Shafie: I think it will be diverse, experimental and with elements we cannot even begin to imagine. However, this is only possible with the support of the masses. The arts has always been looked down upon as the softer skill, but it'll be really valuable in future.

Bhargav: To be honest, I think I am not in any position to comment on the future of the arts in Singapore. However, there are many youths who are passionate about theater and the arts in schools. The challenge is translating that budding enthusiasm into something more concrete and sustainable. The future of the arts rests on how many youths are willing to take on that leap of faith to become professionals.  

J.S.: As we say at Avant, "Art is Timeless. Art is Ageless. Art needs no specific boundaries, languages or space to express itself." However, I feel that support is the main thing here. As long as we have people who are willing to support the various art forms in Singapore and motivate our artists in their respective fields, the arts in Singapore has a bright future.

Fourplay will be performed at the Goodman Arts Centre from April 10-12. Find out more here. 

What got you interested in doing what you’re doing?

I always had a strong belief that design is one of those things that can improve people’s lives in tangible and intangible ways. Yet design wasn't really accessible in Singapore for a number of reason: limited exposure for designers or brands, and a misconception that design was expensive and "atas". So I started Naiise with the hope of addressing these problems, and helping more people discover design through a good platform.

Where do you get inspiration?

Great brands like Apple, Nike and Chanel have really inspired me. I also love to find inspiration from places like Pinterest and Flipboard; I love how I get to see so many great ideas and things from all around the world all consolidated in one place.

Who's your personal hero?

I really admire the late Steve Jobs, who was a great influence on me.

How do you think design should affect people?

Design exists everywhere but we tend to forget the role it plays in our lives. It is in the products we live with that inspire and help us live better everyday, and these products can make us smile, beautify a personal space or perform functions that add value to our everyday lives. Waking up daily to objects and spaces we love can actually make a positive impact on how our day will turn out. So I believe the things we own are, to a large extent, an important part of our lives and make us who we are.

You decided to turn down some lucrative offers because you felt the integrity of your business would be compromised. What do you stand for and what are some of the challenges you face?

Trying to effect change and make a business sustainable at the same time is definitely difficult, so funding can be tempting because you won’t have to work so hard and you can expand much more quickly. But I believe it’s even more important to focus on building a great product that people would love to use, and that itself should help you get to the next level. I felt the offers would have changed the design ecosystem of Singapore. It takes time for people to grow and appreciate design in the correct way. I didn't want to give that up.

What is your design philosophy in a nutshell?

Design is meant to be for everyone and for everyday. It just shouldn’t be made out to be a high brow and alienating thing. I hope in time the community will find it easier to adopt design and not be afraid of it.

What do you think are the next big trends or changes we'll see soon in Singaporean design?

People are becoming more aware of design and how it contributes to everyday living, and they now have more choices to design and products than before. I think that's definitely an upward trend towards the adoption and use of good design, and we'll become more design-centric as a society. With that demand in place, I believe that many of our talented local designers can further pursue their passion locally.

Tell us about some funny/meaningful experiences from filming your series.

I think the whole period of filming has been a meaningful experience. It isn’t every day that you get to explore 12 cities in 6 countries in a 3-month period! It’s like cramming years of architectural education and research over a long weekend! I’ve had the privilege of travelling the world extensively, but the more you travel, the more you realize how little you actually know, which is an amazingly humbling experience. I’ve watched the Hindu rituals on the river Ganges in Varanasi, I’ve participated in the ancient tea ceremony in Kyoto, I’ve stood at the pinnacle of the Birds Nest in Beijing and observed the skyline, I’ve climbed the ancient ruins of Wat Chai Wattanaram in Ayutthaya, and paid respect to the altar of Emperor Khai Dinh in his "palace of death" in Hue. All have left their indelible mark on me.

Which are your favorite places in the world to visit for their architecture?

My top 2 would have to be London and Venice. London s where I was born, raised and previously worked. It’s the perfect blend of ancient, historic architecture and contemporary architecture. I love the Roman ruins in the old city; Christopher Wren’s Baroque masterpiece, St Paul's Cathedral; and modern interventions, such as Renzo Piano’s tallest mixed use building in Europe, the Shard. The street and market culture is also captivating, and the structures that retain them, such as Borough Market. As the poet Ben Jonson said, "if you’re tired of London, you’re tired of life."

Venice is one of the places where I lecture every summer in an urban design workshop at the University of Venice. Every little alleyway and canal explored reveals something more about this historic city that was an epicenter for trade, commerce and culture for centuries under the Ducal rulers of this magnificent city. Arabian, Asian and European traders of the past have been replaced by tourists today, but the vestiges of its former glory are preserved as an urban museum of nostalgia which I constantly enjoy wandering around.

What issues are closest to your heart when it comes to Singapore?

I’m conscious of the increasingly high-density nature of Singapore, and therefore constantly strive for a "spatial sustainability" in addition to "social sustainability". After all, how can we foster a sense of community and neighbourhood when there is not the space to do so? You can’t talk about society without talking about the space in which society can meet and greet, interact and hang out. Spatial sustainability is all about the replenishment of space for society’s interaction, in a world where space is constantly being depleted as quickly as our natural resources. So I think the skycourt and skygarden are important alternative social spaces that should be developed to help replenish the loss of space.

What changes do you hope to see in Singapore soon?

A greater realization that creativity in design isn’t about surface treatment but should go to the core of a society’s culture and climate. One thing my travels and research has shown me is that there is almost a Darwinian process of evolution entrenched in design. Just as Charles Darwin spoke of a theory of evolution through the survival of the fittest, so too is there a process of survival for the strongest design ideas, that are often rooted in solid cultural and climatic principles. Superfluous detail and design treatments will not survive and will be forgotten, but the cultural traditions and events of people that have been developed and reinforced over time, and a place’s climatic conditions will always provide the bedrock to solid design solutions that will continue to evolve and strengthen.

City Time Traveller is on Channel NewsAsia every Saturday at 9:30pm through April; episodes can also be streamed from the CNA site. More on Jason Pomeroy's work can be found on his website.