Thailand’s Underground Music Scene: Khana Bierbood Share Insights on ‘Monolam

Transmission 117: Interview with Khana Bierbood

Khana Bierbood is a Thai band formed around 2012 in Bangsaen, a coastal sub-district, by a group of university friends. Their music combines Western psychedelic rock from the 1960s and 70s with traditional Thai styles like Luk Thung, Thai Funk, and Lao Molam.

Title: Monolam
Artist: Khana Bierbood
Release Date: 2024-10-25
Genres: Indie Rock, Psychedelic Rock
Label: Guruguru Brain
Description: Khana Bierbood discusses their new album 'Monolam,' produced by Go Kurosawa, and how their sound evolved during the recording process.

The band released their debut album, ‘Strangers From The Far East’, in 2019, gaining attention for its mix of fuzzed-out rock and Southeast Asian musical traditions. In 2023, Khana Bierbood recorded their second album, ‘Monolam,’ at TMM Studios in Bangkok, with Go Kurosawa of Kikagaku Moyo producing. ‘Monolam’ is set to be released on October 25th, 2024, through Guruguru Brain.

Khana Bierbood‘s Instagram, and Bandcamp

Your music beautifully combines revivalist sounds with fresh revelations. Which bands or artists from the ’60s and ’70s were your biggest inspirations when you first started?

If we were to talk about the main influences or inspirations from the 60s or 70s, I think it would be quite difficult to answer. We got so many various inspirations and different genre, from Molam, Luk Thung, Luk Krung, spoken songs, 00s Molam dance, to the culture of Western music such as Sunshine pop, early 60s Garage rock and Krautrock.

How did your friendships and experiences at Burapha University contribute to the creation and early development of Khana Bierbood in 2012?

At first, we were lucky enough to study in the same faculty, share similar passions, and were able to get together to practice music and play at parties. Apart from music, we also have similar lifestyles. Although our personalities are different, we get along very well. This allows us to create and develop our work continuously.

What were the biggest challenges you faced when moving from playing covers to creating your own music?

It may not be a challenge at all, but it takes a lot of time and dedication to find the band’s direction. This is because letting go of the images or sounds that are floating around in our heads can be an influence that overpowers us without even realizing it. Having to stay in the same circles for a long time until we finally find the answer and our identity.

How would you describe the music scene in Bangsaen when you first started, and how has it changed over the years?

Bangsaen is a small town, and the bands are mostly professional bands who play as a fulltime job. Except for that are a few amateur bands with members who are mostly university students. It can be said that the music scene in Bangsaen is quite boring, seems unspecial and uninteresting. Or it might be because some bands that are still active are not being seen yet. After the internet became more popular, many bands in Bangsaen have emerged, including us. Many people have their own perspectives and experiences about Bangsaen, and they express it in their own way, and it is growing in a good direction.

What obstacles have you encountered within Thailand’s underground music scene, and how have you addressed them?

The obstacles in the underground music scene that we often encounter may be similar to other countries, which is that there are not enough venues to play shows and not being open to giving opportunities to new bands. We are very lucky that there have been many live-houses popping up in Thailand recently. It is considered a good milestone in developing the alternative music industry more efficiently.

What was it like working with Go Kurosawa from Kikagaku Moyo during the recording of your second album, “Monolam”?

It was a great experience. Go is so talented and kind-hearted. As Go was a good listener and he had great visions and good taste in music, he could make decisions during times where there might be tension, debate, get along in the right way and decrease bad vibes in the studio.

He can understand and bring out the special parts of each person in a wonderful and beautiful way. We had a lot of fun together and had a great time throughout the making of this album.

How has collaborating with Japanese producers and being part of an international label influenced your recording techniques and overall sound?

We have learned to work more organized and smoothly.  In terms of techniques, Go let us experiment with things around the studio to record, which was very open. Everything was free, and everyone was able to express their opinions and suggest new things all the time. I never thought that working with professionals would be this open.

This could be the reason that makes ‘Monolam’ unique and something else.

What will be your next project following “Monolam,” and are there any new directions you’re exploring?

We want to tour as much as we can and we are always practicing to create something new and never play the same thing over and over again. We are always searching for new sounds and experiences to use in our new music and shows. I can’t wait to make another new one!

Photos courtesy of Khana Bierbood

Matteo Damiani

Matteo Damiani is an Italian photographer and author. Curator of the sites Retrofuturista.com; weirditaly.com; china-underground.com and others