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A constant note of cool

Middle Wave band pose for a portrait in Harmony Music Studio, Yangon on April 10. The band say their broad appeal owes, in part, to their use of western instruments without falling prey to western musical styles. Pic: Christophher Davy

FEW bands are able to last longer than a couple of years so Myintzima Hlaing (Middle Wave) deserve some praise for their steady stream of albums over the past 25 years.

The key to their success? Creativity, experimentation and most of all, an acceptance that things change.

Lead singer and rhythm guitarist Khin Maung Toe, 60, denies conventional labels for the band, believing they represent neither the rock scene nor traditional music. Just like the name of the band, he says, they lie somewhere in the middle.

“The middle way is the style of our music. When we make music our first priority is the emotion. We’re Myanmar so a sense of tradition will always flow in our blood and based on this we create music with the aid of western instruments. But we don’t let ourselves be influenced by those instruments,” he says.

Middle Wave have enjoyed broad appeal since the release of their first studio album Maharsanthu (Blue-blooded Woman) in 1985. This was their first release under their new band name Lissli, which is the name of the race of people who lived during the time of Buddha.

The band formed during an interesting period in the Myanmar music scene when western influence was strong in bands such as Playboy and LPJ, which made their name singing covers of popular western songs.

Lead guitarist Zaw Myo Htut, 49, believes his band has enjoyed success because they have always maintained their own style.

“We don’t copy others or western music. We are not anti-western music and we have listened to western songs from childhood up to now. Adapting them, we can play western instrument but we never copy.

“When you create your own (music), you use your own ideas. Whenever we listen to our music, it reminds us of who we were at the time we created it.

They are memories and we are always satisfied with what we have achieved,” he says.

“Each of us has our own tastes. We might not like the same music all the time. Sometimes we quarrel but we always find agreement to maintain the band,” says Zaw Myo Htut.

The band faced a setback in 1996 with the death of keyboard player Ko Myo Khin. Since then, Zaw Myo Htut has played both guitar and keyboard but maintaining the band is proving tough as the members grow older.

“We want our band to last a long time and want new members to strengthen it. Currently, my son Shwe Htut helps us when we need but when we can’t play further, we would like our band to remain alive thanks to the younger generation,” says Zaw Myo Htut.

Unlike some of the other older musicians, the Middle Wave don’t look down on the genres of music currently popular with young people. They even give permission for other musicians to use their songs. For example, hip-hop pioneer group Acid, used their song “Ditagyain Dinway” (This time, This Summer) as the melody part of the song “Mee Mae Laung Myike” (Burn Without Fire) in their debut alum Satinchin (The Start).

Bass guitarist Yeh Lwin says he was delighted to lend a hand to young artists and even welcomes the controversial remixes of traditional music by Thxa Soe.

“Instruments are the weapons of music. There’s no way that we can’t acceptthe mixing of traditional and western music. Music is always alive and can be reproduced in so many genres. Adapt, get inspiration and try to make your own. The important thing is that what you create must not destroy the essence of the original,” says Yeh Lwin, 62, the oldest member of the band.

Middle Wave have released more than 30 albums albums, Gyogarthan (The Sound Of Sarus Crane), Wine yae seesar (Wine’s Sunset), Yaungsin Khunnathwel (Seven Colours) and Panchitthu (Flower Lover).

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