Monolam

Monolam means unique, although the blend that Khana Bierbood present on their second album is a cross between Thailand and the immersive sounds of 1970s California. Fortunately, the clichéd waves lapping the shore heard at the opening quickly dissipate, leaving fuzzy guitars and heavy metal coupled to evocations of a northeast Thai soundworld – catchy and repetitive ostinatos reminiscent of the phin long-necked lute, chord clusters imitating the khaen mouth organ and bamboo sticks from the Lao Kra Top Mai dance. ‘Hazy Juicy’ and ‘Sam Pa Yeur’ suggest poor-quality public address systems, and Buddhism is present in a chant intriguingly juxtaposed with heavy drums and guitar riffs in ‘Fi Rak Sanae-ha’ – a title that translates as ‘Fire, Love and Enchantment’ – and in the temple block that gives a constant punctuation in ‘Srang Sue’. The notes tell us the aim is ‘revival and revelation,’ revival referring to ‘country’ genres such as luk thung and the Laotian-inspired Lao molam. The laid-back, and at times sublime, mix is full of recognisable imagery, but, mercifully, the musicians never step too far into pop commercialisation.