Archive for September, 2003

HIS RUSTIC LIFE

Monday, September 1st, 2003

By Christine Leong, Faces

In his own right, Pete Teo is no newcomer to the music scene. The Sabahan began his musical career writing for UK’s Channel 4 at 18. He was one half of the duo ‘Mid Century’, the other being Grace Au. Following its success on the collegial circuit in London, he was offered recording deals in Hong Kong. There, he also wrote film scores. Now, after a five-year hiatus, Pete has released independently his first solo album, ‘Rustic Living for Urbanites’, distributed here by Pony Canyon Records.

Prior to that, he had already built a following through the critically acclaimed Songwriter’s Round series at No Black Tie, which he organises. “It is more of an emotional and intellectual need rather than a well thought-out career move,” he says of his affinity with music. With his forthright passion for music, displayed in a style refreshingly original, this local talent is not one to be ignored. Noticing this, we dived onto the couch for a long chat with him …

Q: What does it mean to be an independent musician?

It means success or failure is largely in your own hands. You are largely responsible for the way the album sounds and the way it is marketed. It means you have to work harder than major label artistes because a lot of time is taken up by activities such as cover design to printing to CD pressing to contract negotiations with licensees and distributors to publicity and planning. I think to be successful, one would need to be a bit of a jack-of-all-trades and have lots of friends who are willing to help. Most importantly, one would have to be hungry and motivated.

Q: How did the production for Rustic Living go?

As it involved a producer from the US and a bassist from Japan, everything was condensed into a few weeks of very stressful studio work. We were looking for a unique sound that could only be achieved by using vintage analogue instruments and recording equipment. So, we cooped ourselves in an old studio in Cheras filled to the brim with rented old gear that no one would use anymore, such as the Fender Rhodes keyboard. To achieve a sound as close to a ‘live’ sound as possible, we restricted everyone to doing their parts in a few takes and refused to edit mistakes or imperfections. The result is a record made with technology that was state-of-the-art in 1969, and a sound that no one has achieved in the last 30 years anywhere in the world. Hell, I did some of the main vocals running a high fever and suffering from diarrhoea. It was kind of mad really. The actual recording took just under 3 weeks.

Q: How did Pony Canyon become the distributor?

It’s important that the distributing label is enthusiastic about the album and would fight for high retail visibility. In Pony Canyon, we have a label that understands the product. They also have a very distinguished reputation as a distributor of independent records.

Q: Have you been asked a lot to describe your music?

Yes, constantly.

Q: Do you like to be asked that?

My influences are very eclectic and I find it very difficult to describe my music concisely. I almost always cock it up when I try. So I don’t enjoy being asked that, no.

Q: No? Describe your music.

Like a drowning man clutching at straws.

See?

I guess I sound a little like Van Morrison, Tracy Chapman, Cat Stevens, Leonard Cohen, Bob Dylan and Daniel Lanois all mixed up together.

Q: Is your musical orientation a conscious choice?

Yes and no. I can’t help sounding the way I do, but there are elements in what I do which are deliberate and cerebral, such as the subjects I write about, or the way I construct stories, or even the way I pronounce certain words when I sing.

Q: Who’s Marianne?

Marianne is fictitious. Or rather, she is metaphorical. We all have ideals. Some of us lose it as we get older. Some retain it. Some lose it then re-discover it. Some don’t ever find it again. Marianne is our ideal.

But then, she could be a real person too. Ha.

Q: What inspires you, besides Marianne?

People and their stories. Some are extraordinary, some mundane. But they are almost always fascinating. I get more ideas from books than music. I get lots of ideas from chatting to people too. I don’t sit there and just make things up in my head. The trick is to see the sublime in the ordinary.

Q: Does Rustic Living have a particular message?

I don’t preach in my work. I think life is way too complex to be didactic. Rather, the album was written around themes of death, rebirth, loss and memory. I try not to turn my music into either three-minute pop sound bites or sermons.

Q: What is it about music that sets people on an emotional high?

Good music does that, I think, because good music is evocative. I guess people need to commune with others and good music is ultimately a communion of sorts.

Q: Why isn’t there a picture of you on the album cover?

We decided against it because the headless man in a suit is symbolically stronger, and works much better with the album title.

Q: Why is it called Rustic Living for Urbanites?

It seems to me urbanites tend to wear masks most of the time, more so than rural folks, who tend to be much more direct and rustic in their approach to life. The record is largely about what is behind the mask or what is real. I thought the title sounds like the sort of crass self-help books that claim to heal all ills. I like the irony of that.