15 Questions to Flica

All eyes and ears are on China at the moment. Admittedly, some promising music is being produced in the bedrooms and studios of Beijing and Shanghai. The same, however, can also be said about a host of nearby countries, which are in a similar state of creative development without drawing even a fraction of the West's medial attention. In Malaysia, for example, the scene for Electronica is stoically expanding, drawing from a plethora of influences and integrating both the busy hustle of its capital Kuala Lumpur and the mysterious beauty of its rural surroundings. Eu Seng Seto (aka Flica) is one of the few figureheads of this community whose work has been picked up in the USA and Europe. Which can partly be explained by his close connections to the globally admired Japanese Sound Art commune, which has resulted in his debut album "Windvane & Window" being re-released on Tokyo-based Schole Records as well as a collaboration with the island's independent mastermind Akira Kosemura. To reduce his relative success to these links, however, would ignore the creative roots for his international appeal, which go much deeper than that. Seto, after all, has ingeniously managed to fuse his interest in Japanese culture with softly rolling beats somewhere between futuristic breakbeats and spaced-out Rock, with floating Ambient textures and experimental stutterings underpinning pure and simple Pop songs based on romantic Guitar- and Piano-patterns. It is a sensitive music which is never lost for words despite always remaining instrumental and which can be understood all but regardless of where you're from, where you are and where you're going. A graphic designer by day, Flica's tracks take audiences on emotionally haunting trips through the empty streets of darkest night, always lighting the way with a candle made of wonder. No wonder, then, that his latest full-length of new material was titled "nocturnal", probably a reference, too, to the time of day when these shy and intimate pieces were composed. It's okay to follow the exciting prospects offered by China. But whenever you can, do lend an ear to what's happening in the rest of Asia as well.

Hi! How are you? Where are you?
Hi, I'm fine. I'm currently at Kuala Lumpur.

What's on your schedule right now?
I've just finished my new album "Nocturnal, and I'm looking forward to release it by December this year. (it has been published by now - tokafi)

How would you describe and rate the music scene of the country you are currently living in?
Well, I'd say, the music scene in Malaysia is not yet mature. But the electronica community is growing at a moderate pace.

Do you see yourself as part of a certain tradition or as part of a movement?
I'll say movement because I can't say there is any extensive electro acoustic scene here yet. Having said that, I do hope I will be able to play a part in giving the scene a boost myself. Well, I am aware that things are growing at the moment, and I certainly hope this trend will continue.

What, would you say, are the factors of your creativity? What stimulates you to write music?
Life would be the main factor of my creativity, when combined with contemporary technology. As for stimulation, I guess it is just my interest.

How would you describe your method of composing?
There are two methods. One is theme-based, where I start off with chords or notes. And the other one would be more experimental, which consists of sound sampling.

In which way, would you say, is your cultural background reflected in your work?
I have always liked the Japanese culture. Thus, I have always been listening to Japanese soundtracks. I guess this is reflected in my work.

How do you see the relationship between sound and composition?
I would say that I do better in composition compared to sound, as it is all about experience. Therefore, at the moment, I'm not yet capable of sound design.

How strictly do you separate improvising and composing?
To me, I treat improvising as mood and composing as life.

What does the term „new" mean to you in connection with music?
I would never say my music is new. In my opinion, in connection to music, "new" is a discovery within an existing genre.

Do you personally enjoy multimedia as an enrichment or do you feel that it is leading away from the essence of what you want to achieve?
As an enrichment, definitely. Because, without multimedia, I'd not have come this far.

What constitutes a good live performance in your opinion? What's your approach to performing on stage?
Since I'm a solo artist, I have found that there's a limitation in live performance. Therefore, I believe, a band would be the basis for a good live performance.

How, would you say, could non-mainstream forms of music reach wider audiences without sacrificing their soul?
I don't think of it this way because good music will always be appreciated. However, an irony to this is that it hard to differentiate between the mainstream and the realms of non-mainstream music while your music has already reached wider audiences unnoticed. But, somehow, it is still depends on the artists' mind set.

You are given the position of artistic director of a festival. What would be on your program?
I'd like to screen a movie to a live-performed soundtrack as a background. I'd also like to do a lighting installation with ambient sound.

Many artists dream of a "magnum opus". Do you have a vision of what yours would sound like?
Actually, I always treat my work as a hobby. I believe this is the only way to balance myself. Of course, I wish I could be successful.

Discography:
Windvane and Window (Mu-Nest) 2008
Coffee & Spectacles (self-released) 2008
Nocturnal (Schole) 2008

Homepage:
Flica

Tags: malaysia, experimental, flica, interviews, sound art, electronica

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