Mixing it up

By KYAW PHYO THA / YANGON

When Thxa Soe debuted with his album “Yaw Thama Hmwe” in 2006, Myanmar listeners were awed. For many, it was a revelation that traditional folk songs could be blended with Western electro music.

But it wasn’t so tough. Both musical forms share lively rhythms, and Thxa Soe’s lively mixes have meant his songs are embraced both among urbanites and in the countryside, where local Top 10 songs are rarely popular. The 35-year-old musician spoke with The Irrawaddy’s Kyaw Phyo Tha about his music, his views on piracy in the music industry and local artists’ obsession with doing cover songs.

How did you get the inspiration to blend traditional Myanmar folk songs and electro music?

Basically it all started with my indomitable spirit. I went to London to study music in 2001. During the classes, I hardly found any popular original Myanmar music to play. All the songs I had were covers. I felt quite ashamed [for the lack of originality].

Through reading, I learned that our local music had flourished right back to the Bagan era. I was very curious to know what kind of music they were listening to or playing then. Luckily, I had access to the British Library in London and I found some Nat Doe, a lively Myanmar traditional music with strong beats performed at Nat Pwe [traditional spiritual musical performances]. At the time, I was studying dance music. I was surprised to find that they share, in some ranges, the same tempo. Then the idea popped into my mind that it would be great to mix them. I went back to Myanmar in 2003-04 to travel upcountry, and did some more research on Nat Doe. Afterwards, I released “Yaw Thama Hmwe” [meaning “mixed”] in 2006.

That was quite revolutionary at the time. What was the response?

Some people liked it. But I was hugely criticized, too. I was labeled as “someone who ruined Myanmar traditional music.” I had never been condemned like that before. But for me, what I did was something like dressing up a Myanmar girl in Western clothes. So I have kept doing that kind of music and now I have six albums under my name.

What do you think of the music you have produced so far?

I have not changed, but people’s views have. I have earned applause from senior people from the traditional Myanmar music circle. As I’m one of the few young musicians interested in traditional music, they have even advised me on what songs I should choose. Now, I have been asked to write music for a state-level event. For example, the Minister of Immigration and Population requested last year that I write a theme song for the nationwide census gathering and for the SEA Games in 2013. Before that I was banned from performing.

You have complained a lot about pirated music albums here. What is the current situation on music piracy?

Piracy has been a cancer for the music industry here since around 2003. Even though we have tried to fight against it, we still can’t overcome the problems. We reformed the Myanmar Music Association in 2011 and organized an anti-piracy team of which I’m the secretary. So far we have seen some light at the end of the tunnel. Due to the team’s efforts, we saw a doubling of local album sales. Despite the government’s cooperation in antipiracy, it would be much better if they were more helpful.

Compared to other art forms, Myanmar music gets little international recognition. Why?

Because most of the musicians here have no shame—they sing cover songs as if they were their own.

I have been an anti-cover song artist, so many people in the industry here hate me. But the more Myanmar is exposed to the international community, the more they should be careful about what they are doing.

Basically, as an artist you must have your own creation. What mostly happens here is that people either do cover songs or take some parts of music from international hits to blend into their own. They know very well it is unethical, but they just keep doing it as it doesn’t require much effort. Plus, it is easy money.

What about your international performances? How did the audiences out there respond to your music?

Last year, I performed in Vietnam where I was invited by BBC World. In 2013, I toured in Europe. I found they liked my music. For them, this kind of mix of traditional and electro is not very strange; they already know African-techno mix music. But they responded heartily to my music as it is very lively and good to dance to.

Do you think the Myanmar music industry will leave cover songs behind some day?

I see a growing number of young artists trying to make their way with their own creations. They still can’t overcome those who make cover songs using international hits. It’s very sad. But if they keep up what they are doing, they can make it. The situation will be better, I think, probably in the next five years. 