CHILLIN'
Vijay Singh poses Paul T a series of free-associative questions

My music represents my influences over the years since the day I started DJing to getting into production. It’s come full circle where I started with hip-hop, soul and R&B to today's influence of jazz and dance music. You might find it an eclectic one; a sound genesis coming from many directions but in every track you will find the influence of jazz or funk breeding around it. I do lots of mixing and blending of live and programmed sounds. A lot of work goes into the production.

My job as the engineer/producer/programmer/arranger allows me to craft my production to my own flavour and make sure I get it right the way I wanted it to. I don't live by the sound engineer's dos and don'ts. I basically do whatever it takes — whether it’s traditional or untraditional approaches — to get the sounds I want. My rhythm section on average takes up to 24 tracks as I layer different kick, snares and loops. I see production and engineering as input as well as sound design and creativity rolled into one. It ain't whatcha do, it’s the way you do it!

Over the past 10 years I have been working behind the scenes producing and remixing other projects. Basically I have been soaking in the vibes and the sounds that appeal to me. I learn when I work with different people, be they engineers, sessionists, artists, producers, etc. I guess it’s a neverending learning process and that's what helps make me better over the years.

If I were to make music in another way it would probably not appeal to me ‘cos now I can be the drummer, bass player, keyboardist, engineer, producer, remixer… the rest is up to my imagination.

In Singapore electronic music is viewed as not real music by the traditional musicians. However it’s starting to change — thanks to the complete domination of MIDI in the ‘90s when live musicians and sessionists were almost completely being replaced in the studio by machines. Then in the late ‘90s the hybrid sounds of live sessionists and MIDI made a strong presence in music, till today. So the purists like jazz musicians are even starting to use MIDI themselves to help make their music more contemporary and hip.

The lack of technology would probably make electronic musicians and producers waste a lot of time dealing with equipment and gears leaving less time for creativity.

Technology is the answer to making music with a new approach and exciting way.

Rhythm comes from within — you either got it or you don't.

Without rhythm music would be really boring and what would you play to? Rhythm is the intrinsic backbone of all music, be it eastern or western.

I would love to play live but it’s too far-fetched for me. I find it boring just tweaking knobs on stage. I'd probaly have to rely on my sessionists to make me look good up there. What I'd do is take a few of the tracks from my sampler and hard disk and mix them live. I'll probably process them live as well. I might not be able to replicate what I've done as the sessionists would probably play with a different vibe.

A good club would evoke good vibes when you are there. Of course, good music that appeals to you would be a plus and beautiful people would be a bonus!

Last night I was mixing down my new track called Eastern Sunrise for an Asian chillout album.

In the next five years, I see myself venturing into more experimental sessions — be it with a hybrid of electronic music, sessionists plus vocal guests… — it’s got be be melodic, rhythmic and cutting edge

In the next five years, electronic music will be easier to make and with the internet more electronic musicians will get together (on the net) to collaborate, exchange sounds and we probably will discover some new stars from these new channels

In the next five years, Singaporean music will probably have a scene if Singaporeans are willing to accept that yes we do have some talent and yes we want to have some local heroes in the local music scene. Local music is fighting for acceptance in our critical society. The problem is you can't dictate a Singapore sound — my advise is don't bother, just concentrate on making good quality music not for local acceptance but for the world. The Chinese music scene is a great example. The songwriters, arrangers and singers are doing well creating a demand for them. Why? They are able to come up with quality work that can stand shoulder to shoulder with those in the Hongkong and Taiwan market. Local music must strive to meet that benchmark to break the prejudice that Singaporeans have against its music culture. We all should in our own respective ways try to make music of international standard.

I see the most hope in electronic music as you don’t need a band — you can be the band. It can be DIY at a home studio that you set up and if the sounds are right you can't even tell if its local. You can quantify for that international sound if you do it right.

I would like to work with Monday Michiru, Jimmy Jam and Terry Lewis and Chuck Loeb,

When I’m 50, I hope I'd still be producing hopefully good music for the soul.