1. Can you talk about your own background and work?

I am an experimental musician who is interested in exploring ideas and possibilities in the creation of new music and sound. As an experimental musician, I integrate unconventional techniques into my creative exploration. My work explores a diverse variety of genres and performance techniques, including avant-garde, free improvisation, generative music, and sound art.

2. What was the concept for the music in Barbarian Invasion?

Barbarian Invasion is a film that crosses several themes, with art house standing as the dominant genre. To me, it was an eclectic voyage of drama, action, and spirituality. I had already envisioned the sound in my mind when I first watched the film. My goal is to produce a minimalist, ambient soundscape that complements the overall atmosphere. I utilise Malay gendang, Chinese drums, tabla, gamelan, sitar, and gambus as primary instruments to integrate our culture into the soundtrack. To complement the traditional instruments, I also use electronic instruments such as analogue synthesisers, electric guitars, and others. This film's overall soundtrack blends avant-garde vibes, cultural sonic meaning, and Malaysian identity.

3. Can you talk about how you designed the music for the film?

This soundtrack was mostly created in my tiny studio in Ipoh, Perak, and at USM Penang. As I mentioned before, I wanted to create an ambient soundtrack. My primary sources of inspiration come from many artists I love, such as Johann Johansson, a composer and sound designer who has produced soundtracks for films such as Her, Arrival, and Sicario. But I didn't only want to make an ambient track; I also wanted it to be musically rich in our cultural heritage. It is essential for me to bring the eastern aesthetics, unique identity and trademark so that the international audience can connect and comprehend more. All of these things contribute to the audience's understanding of the storys flow. Due to the pandemic, I never met director Tan Chui Mui face to-face from the start of the production till the final. It's a challenging task since communication is restricted. But, since the film is so powerful, I managed to get a solid result with very little discussion between myself and her. I think that it all reflects a mutual understanding and we have the same wavelength in creative approach. The director gave me complete trust, and that was all I needed to express myself effectively.

4. What was the biggest challenge you faced during composing the music?

Working within the pandemic is, in my opinion, the most difficult task. This is my first experience creating a soundtrack while under lockdown. It’s quite hard, for example you must be resourceful while working with limited materials. I mean, your regular art-making practises is stifled and needs to be rearranged or re-set in order to make it comfortable. For example, I am unable to go to my studios on a regular basis, so I must carefully plan my recording time ahead. From production meetings until the final delivery of the soundtrack, we rely entirely on the internet as our primary means of communication. But, at the same time, I'm learning a lot too. As I struggle with limitations, my views on the creative process grow. To be honest, I believe this is a more effective method that can be used even after the epidemic has ended.

5. Any other things you would like to talk about?

I would like to express my gratitude for the chance to work with such an amazing team. I hope that in the future, we can all collaborate and create more. Wishing the team the best of luck and stay safe.