Soundway Records delivers an exciting new compilation, diving ever deeper into South-East Asia. Ayo Ke Disco celebrates the musical identities emerging during the 1970s and 80s from the newly independent countries nestled around the South China Sea.
This time, Soundway’s long-time general manager and DJ Alice Whittington (AKA DJ Norsicaa) steps into the limelight, embracing her Malaysian heritage and selecting music from her heavy collection of Asian records. Aside from steering the label, she is often found on international stages and radio stations playing an eclectic array of music and will embark on a tour of Asia this November.
The first single from the compilation is a Filipino classic, ‘Pinoy Funk’ by Regalado (10th September). Norsicaa says: “Dubbed ‘the most recorded drummer in the Philippines’, Jun Regalado’s career has spanned nearly 60 years. His work can be heard on over 400 albums, including those of the most renowned Filipino artists such as VST & Co and Celeste Legaspi. This track comes from the 1977 recordings he made with famed jazz musician Eddie Munji III. It’s a heavy funk instrumental, driven by the trumpet section and percussion including the traditional Filipino racked gong chime of kulintang.”
For Ayo Ke Disco (meaning ‘Let’s go to the disco’ in Indonesian), 10 rare tracks of disco-funk, psychedelic funk, synth, city pop, and Hindustani-Arabic rhythms were painstakingly licensed from local labels – forming a snapshot of the vibrant discotheques and live scenes across Indonesia, Singapore, Thailand, Malaysia, Hong Kong and the Philippines.
South-East Asia in the 1970s and 80s was an exciting, fast-paced and often turbulent period. With many countries around the South China Sea having recently gained independence and a taste of economic prosperity, the youth rushed to redefine themselves through music, fashion, décor and lifestyle. This window of time saw the end of the Vietnam War and the Marcos regime in the Philippines, while the ongoing Cold War loomed in the background as neighbouring nations rebuilt themselves. Despite the undercurrent of instability, a hopeful buzz filled the air.
Setting the scene was the arrival of colour television in the region in 1974, followed by Saturday Night Fever hitting Asian cinemas a few years later, which launched the cultural phenomenon of disco. Air travel had become more accessible, allowing entertainment acts as well as middle-class residents to move around with greater ease. Glamourous flight stewardesses mixed with the international jet set crowd at cocktail bars and late-night discotheques, which became the hotspot for both celebrities and locals. Sun tans, gold chains, and form-fitting French and Italian clothes abounded. From Tanamur Discotheque in Jakarta, to Disco Disco in Hong Kong, Diana at The Oriental Hotel in Bangkok, or Orchard Road in Singapore – the music scene was helping lead the way in reshaping the new identities of the region.
At this point, Bruce Lee’s movies had not only dominated Chinese language cinema in the early 70s, but the dubbed versions had now made their way into Western pop culture. This fuelled a new interest in Asian culture beyond an imperial mindset – perhaps Asia had something to offer other than its resources and manufacturing prowess.
By the start of the 1980s, the majority of Western military presence had also withdrawn, resulting in less demand for foreign music, while hotel discotheques were being replaced by blossoming independent nightclubs. This coincided with the electronics boom, ushering in an explosive new era of experimentation. While Filipino musicians had introduced jazz to Japan and South-East Asia earlier that century, Japan brought the gift of synthesisers and drum machines. Cue the adaptations of Western trends including breakdancing against the backdrop of a bright, loud consumer culture. Governments grappled with a rebellious youth hungry for new ideas – many imposed censorship, taxation and venue restrictions to curb external influence, with varying degrees of success.
But even in the harshest of climates, music finds its way. From Philippines very own Jun Regalado, to the pioneering and rebellious group of Indonesia’s The Rollies, Ayo Ke Disco plucks their songs from obscurity and carefully replants them in the lush landscape of a reissue compilation.
The vinyl release is also accompanied by the Ayo Ke Disco zine from Norsicaa, with extensive research on the history of music in South-East Asia, archival photos and exclusive interviews with some of the region’s most respected collectors.
Live Dates
26 Oct – Album launch party, Brilliant Corners, London
1 Nov – NT Loft, London
22/23 Nov – Seoul, South Korea
29/30 Nov – Osaka, Japan @ Escape
5 Dec – Fruityspace, Beijing, China
7 Dec – Fono, Kuala Lumpur, Malaysia
8 Dec – Sputnik Recordz, Kuala Lumpur, Malaysia
13 Dec – Singapore @ Offtrack SG
15 Dec – Wonderfruit festival, Thailand
18-19 Dec – TBC Vietnam
