Artists / Bands, Indie / Alternative, Interviews, Releases — September 30, 2011 at 7:49 pm

Interview: The Dorques (PH)

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How do you define ‘cool?’ It’s not a question that is often asked, but it is one that should surely have an answer. By definition, being in band is cool. Music, generally, can be cool too. But, how do you define the sound of a band that, by definition, are the antithesis of anything to do with coolness at all? Ask The Dorques, who, while they avoid clichés of “coolness” like it’s the plague, aren’t nearly as dorky as they make themselves out to be. The bass-driven, infectiously catchy glitch-core that the Phillipines rock outfit produces quickly jumps to their defense, elevating them beyond their status as a walking social faux pas, and into the creative melting pot that is The Dorques – in inspired collaboration that has the Asia Pacific music scene begging for more.

Explain the concept behind the band name, ‘The Dorques.’ Were there ever any other names you considered for the group?
Aimee: We wanted to sound cool, but uncool at the same time. We came up with ‘Dorks,’ but we decided to change the spelling to make it look a bit different. Other names were thrown around like C**t wagon and Family Banned, but obviously The Dorques won!

What elements do you take from Manilla/South East Asian music scene, and what elements do you take from international groups and projects?
Nina: We listen to everything. Joff is a DJ so he likes indie and hip-hop bands; Arnel listens to everything from new-wave to punk. Aimee’s a DJ as well; she’s more into electronica and rock.  I listen to pop, jazz, and I like hip-hop too. There’s a huge musical diversity, and everyone lends an open ear when it comes to music.
Aimee: We sound like a lot of international acts more than local ones.  I personally take a lot of inspiration from local drummers, the way they make their beats and syncopations.

What can the Dorques bring to the UpToTheSky Festival that other bands cannot?
Aimee: A sparkling and cheeky blend of hardcore and easy listening music that, frankly, is all about sex.
Nina: The Dorques doesn’t only produce happy music, we as a band tend to give that vibe as well. Us, and our music, are a bundle – a package of pure ecstacy, with happy, overwhelming energy that other bands struggle to show.  We don’t play music because we need to.  We play because it makes us happy.  And I believe that’s how music should be.  It should feed that thirst you’ve been dying for.

Describe your ultimate gig. Who would support you, and where would you be?
Aimee: Wembley, Royal Albert Hall, SXSW, Glastonbury, Reading festivals.  All the British festivals!  Supporting acts would be Puya, Pantera and Slayer. I’d like to meet them. That would be awesome.
Nina: Dream gig would be in the Philippines with Ogie Alcasid. I want him to sing a rendition of our version of Waltzing Away.

What are some of your more notable achievements, both individually and as a band?
Aimee: Apparently, I can play drums.  That’s a pretty awesome achievement. Oh, and I can tie my shoelaces all by myself.

The weirdest thing to ever happen at a show…
Aimee: People turning up.
Nina: We were performing in about 2009 at a show in Hanoi, and Joff and I were dancing like there’s no tomorrow – then Arnel unplugs his bass cord and starts using it as a jump rope while some guy in the crowd, literally dripping with sweat, struggled to dance along with Aimee’s insane drum solo. Hilarious.

Name a song written by someone else, that you wish you’d written yourself?
Aimee: Every song on Revolver by the Beatles or “Learning Curve” by DJ Rap, anything by Adele or Florence and the Machine, “The Message” by Grand Master Flash, Blondie’s “Heart of Glass” or “Rapture,” and Beethoven’s Symphony No. 5 to name a few.
Nina: “Shake it off” by Mariah Carey! I bet I could’ve made a better version – with a twinge of indie-ness, of course.
The Dorques feature SEA Absolute Indie compilation (release date: Oct. 18, 2011) and will play live in Singapore on Dec. 3 at UpToTheSky Festival, stay tuned!

 

By Stephanie Winkler