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Inch Chua - Singapore | “Dust That Moves” on Pulau Ubin (Soi Acoustic)

Inch Chua is a Singaporean singer-songwriter, musician, producer and multi-instrumentalist. After spending four months on the island of Pulau Ubin, she released her fourth solo release, “Letters to Ubin” in late November 2015. She performs “Dust That Moves” in this performance. Subscribe to Soi Music TV: https://www.youtube.com/c/soimusictv IG:  http://www.instagram.com/soimusictv FB: http://www.fb.com/soimusictv TW:  http://www.twitter.com/soimusictv WB:  http://www.soimusic.tv Get in touch:  info@soimusic.tv ________________________________________­______ INCH CHUA INFO: http://www.thisisinch.com/ https://www.facebook.com/thisisinch/ https://twitter.com/inchchua https://www.youtube.com/user/inchchua http://instagram.com/thisisinch http://inchchua.tumblr.com/

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Eight releases that lit up the Singapore music scene in 2015
SINGAPORE — It’s no exaggeration to suggest that 2015 was probably the best year ever for Singapore-made music since the heydays of the 1960s (aka the Golden Age of Singa-pop) and the 1990s (Singa-pop: The Next Generation). A flurry of lauded recordings and well-received concert performances hogged public attention — with SG50 providing an added boost and radio stations actually playing local music on a regular basis, such as Lush99.5, which appeared to lead as the radio station champion for local English music, thanks in part to its #lushloveslocal campaign gaining traction. Beyond our shores, the Singapore Tourism Board and the Music Society, Singapore (SGMUSO) brought several Singapore bands and singers, including SA Collective, Take Two, Charlie Lim, Gentle Bones, Pleasantry, Caracal and THELIONCITYBOY to Beijing, London and New York as part of the Singapore: Inside Out initiative, which provided more evidence of the ascent of Singapore-made music in 2015. In that context, it was difficult to narrow down the albums that, in our view, made a significant impact — whether artistically and/or commercially — in specific musical genres and styles, but we’ve done it and here it is: Our list of favourite albums of 2015. This list is not meant to be taken as exhaustive or definitive. It’s merely the tip of an iceberg that, with the right support, will breakthrough into the mainstream in 2016 and beyond. The Sam Willows’ Take Heart This was the story of the year for Singapore music, as The Sam Willows released its major label debut Take Heart on Oct 30. The quartet has managed to become the first South-east Asian artist to crack Spotify’s Global Viral Top 50 and Singapore’s Best Artist on iTunes. Produced in Sweden by Harry Sommerdahl, the album combined the band’s inherent melodic folk tunes with a shiny EDM-pop sheen that captured the imagination of teens both at home and abroad. The sky is the limit for The Sam Willows, and they probably have the best opportunity for Singapore music to break into the world music stage. SHIGGA SHAY True to the original spirit of rap, ShiGGa Shay has produced observational songs, especially about life in Singapore (a prime example being his 2013 hit single LimPeh). This eponymous debut album finds ShiGGa Shay at the top of his game, with tracks such as Lion City Kia, Sialah and Ang Moh Pai continuing on where LimPeh left off. The fact that these songs are not allowed on national radio (because of the Singlish lyrics) makes his achievements even more amazing. In this respect, ShiGGa Shay has created a new art form, one that embraces the local vernacular while marrying the same with US hip-hop norms. .GIF’s SOMA This unassuming duo — the laid-back Din and idiosyncratic woman-child weish — creates minimal, hypnotic, sample-based soundscapes that soothe, but are still edgy enough to keep things intriguing. After a well-received EP, Saudade, in late 2013, .gif (pronounced “dot jif”) offered this debut full-length album, which was an eye-opener that came with surprisingly sophisticated beats and welsh’s impassioned vocals. It impressed listeners with quality tracks such as Blanche, Sate (featuring TAJ’s Tim De Cotta), Juvenile and Godspeed. CHARLIE LIM’s TIME/SPACE Singer-songwriter Charlie Lim may be best known for his heart-wrenching melancholic ballads, but apposite to that is the jazz-infused soul man behind tracks such as crowd favourites Conspiracy and Knots. Lim’s debut album is actually two EPs, and Time/Space is intended to showcase each side of his musical personas. But his strength lies in the aforementioned ballads where words and music combine to capture hearts and souls. Gem tracks: Choices, Light Breaks In and I Only Tell the Truth. IN EACH HAND A CUTLASS’ THE KRAKEN Post-rock has been a mainstay in the Singapore indie music scene for some time now; and one of its leading lights is undoubtably In Each Hand A Cutlass (IEHAC). With its sophomore effort, The Kraken, IEHAC unleashed a sonic leviathan that mined more expansive influences — progressive and psychedelic rock. Central to this conceit was the three-part title track that demonstrated the band’s ambition and ability to encapsulate the virtual breadth of instrumental rock history. CASHEW CHEMISTS’ PREVIOUSLY ON ... It’s meaty, it’s beaty, it’s big and bouncy. Power-pop still has a place in modern rock and, thankfully, a band such as Cashew Chemists understands exactly how vibrant and exciting this musical form can be without any consideration to the hip and cool factor. This EP is a breath of fresh air in a scene sometimes too distracted with the relevance of musical forms to appreciate the beauty of the music right before them. The opening track Feel Amazing is an instant classic many times over and a wonder to behold. CHEATING SONS Three years in the making, this labour of love showcases the principle that music is its own reward. Informed by multilayered textures of seminal 1960s albums such as Pet Sounds by The Beach Boys and Music From Big Pink by The Band; Cheating Sons’ eponymous sophomore effort is without a doubt one of the best Singapore rock albums ever, filled with sophistication and musicality, and featuring excellent songs such as Mercy Of Cain And Abel, Carry Me Down and Patriarch. Essential listening, indeed. INCH’s LETTERS TO UBIN With songs inspired by Pulau Ubin, both in terms of words, music and even sounds, iNCH’s spiritual bond with Ubin, with implications and reflections on Singapore’s journey through the decades of material progress and prosperity, has made the EP quite possibly the ultimate SG50 reflection. Songs such as Mousedeer, Simple Kind Of Love, Granite, Breakbone and Dust That Moves are, collectively, an electro-pop rumination of the meaning of life here and now, in the year we will always remember as SG50. The above albums are available on iTunes, Bandcamp and Spotify.
www.todayonline.com

Nice roundup of 2015 SG releases by Kevin Mathews for todayonline.com!

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Hehehe guess who got to meet Inch Chua today 😊❤❤ she thinks I’m prettyyyyy HEHHEHEHHE HAHAH. Really lovely and sincere person ❤ her new album is coming soon! Super excites 😍 #selfie #inchchua

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A "Inch Chua" Bio Written by Rob Bieselin.

If you find Inch Chua sitting outside of a Swedish-styled coffee shop in Los Angeles, she might be wearing neon yellow button earrings and grey gym clothes, eagerly talking specs on her cell for this-or-that or something else and squinting sans sunglasses into the 3 p.m. sun interrupted only occasionally by the flanks of idling buses advertising action films about stalwart superheroes in spandex.

If you’re stuck in traffic on the Ten, you might see her the next day too. She’ll be the frustrated-looking Singaporean twenty-something in a small silver car; rushing for soundcheck and cursing loudly into a fold-down mirror while applying primary-colored war paint to her cheeks like a cheerleader might rouge before junior prom. 

And this is odd, you think – she looks like the girl I saw drinking a mango-banana smoothie yesterday… the one with the button earrings.

And you’re right and wrong, because, yes, it is odd… But, no, it’s not the same person. There are multiple Inch Chua’s, they just happen to share a name, an appreciation for mangoes, and a Toyota Yaris named “Duke.”

“This is what happens when you let your left brain and your right brain fight for your attention,” she said, pointing at herself. “The moment I say I’m absolutely balanced, I feel immediately unbalanced... It’s like trying to find a central point by bouncing between poles”

Before she split into two people, Inch was a third person who, were she a minor character in a prequel to this introduction, might be credited as “girl raised by esteemed theatre family in Singapore.” 

Her character would be family-centric and brought up by a strong single mom on great helpings of art, performance and clam-rich char kway teow. She’d eventually find form after following a boy to an underground concert where she twisted-off into a fourth person that came to absorb music like some kind of hypothetical sponge that absorbs sound and formed a band online (the girl, not the sponge), and started to synthesize her appreciation for acts like Finch, Copeland and Juliana Theory into her own expressive art that eventually chased a fifth version of Inch from art school where she briefly entertained the idea of being an texturally-driven abstract painter.

“I got tired of the industry of fine art… and I got into a depression,” she said, partially attributing the blue period to reading too much Hegel, Schopenhauer and Nietzsche. “Eventually music saved my life. Everything else, life or painting, it just seemed bleak and pointless. But music - that wasn’t.”

After Inch version 6.0 built its chops with Allura, it underwent a bemusing Jekyll and Hyde split, became V.7.0, picked up the guitar for the first time, went solo and watched as her inner-Hyde kicked inner- Jekyll’s ass and wrestled his diary away from him, using it to write schizophrenically-autobiographical songs that dragged him kicking and screaming into a full-fledge music career. 

After 3 albums, Hyde woke up in the United States in 2012 with smudged paint on his face and a Pan Am shoulder bag containing a California State Driver’s License that read, “Inch Chua 8.5,” and the masters to a frenetic and sonically complex new record about boys called Bumfuzzle (the record, not the boys).

“I wrote 20 songs to start and every one is about a guy I know… I wanted to be able to make something with a theme, and that’s it for the 10 songs that made the record.” She stopped to write down, “Dr. Bumfuzzle B-Sides,” which she thinks would be “a cool name for a dog” and continued “And that’s where the name comes from. It reflects the textural sound of the songs, but it’s also a word that means ‘to confuse or fluster,’ … and that’s exactly how I feel about guys most of the time… all of the time.”

And this, she says, makes “Bumfuzzle” her most honest record to date; an album as honest as eight versions of a single person can make.

So, if you get off of a passing bus and sit down with her when she finishes her smoothie, or accidentally rear-end Duke and speak with Inch on the roadside after accessing damage and exchanging insurance information, she’d tell you the same; tell you how bumfuzzling it feels to be Inch Chua, but also how art makes it all make sense, or something like that… and, maybe you’re a court reporter, so you keep a transcript of the conversation and it reads like this: 

You: Wait, so you’re telling me there are really 8-and-a-half versions of Inch Chua? 

Inch Chua 9.0: Yes, in a way… There’s the me that produced the record and the me that wrote it, and all the theatrical versions of me that get into character and let loose while playing it live.

You: Well that must make for a lively show.

Inch Chua 9.0: Lively, yes, but harmonious too… We all usually come together to form something cohesive… It’s almost a metaphor for the music and the approach… It’s like looking at a telescope under a microscope, or, you know - kinda like the robots in Voltron or a piece of a jigsaw puzzle - only instead of forming a giant robot and a scene of a red covered bridge, respectively, they form one giant hybrid thing that, for some reason, looks and sounds like Gwen Stefani singing along to “Karma Police” in an idling Delorean electrified by a live power line downed in a tempest.

You: That sounds pretty rad.

Inch 9.0: Thanks. It’s just what’s in my heart. It’s all about expressing it honestly. Without  that, without art, we’re just carbon and hydrogen with cool accessories. 

You: Well said…

Inch 9.0: Thanks.

You: You want to go get a drink?

###END TRANSCRIPT###

http://www.robertbieselin.com/ 

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My big sister is one of the most giving and kindest souls I've ever known. We're two years apart but our birthdays are next to each other. Besides the fact that it shows how my parent would attempt to conceive on the same day each year - it also means that it's rare for a birthday to go by without celebrating our birthdays collectively with the family. Saddens me to know that this is the second year in a row we're not celebrating it together for the first time. I love you @venuschun #throwbackthursday #tbt

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stayinblue

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完全是為了她才去今天/今年的仲夏夜空。去年開始聽她的音樂,我喜歡她富有詩意的詞曲,與獨特的嗓音(超級喜歡她的Hurt)。這個女孩跟我年紀相仿,但竟然已經在網路上獨立發表了兩張專輯,今年還靠crow…
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