EMOTIONS RUN DEEP RASMEE ISAN SOUL/
Returning with a full-fledged band, the Isan singersongwriter dives further into her exploration of mo lam fusion on her second studio outing By Chanun Poomsawai
‘Idon’t want to be at the mercy of my emotions. I want to use them, to enjoy them, and to dominate them,” British author Oscar Wilde wrote in his literary classic, The Picture of Dorian Gray. In a way, Rasmee Isan Soul’s sophomore album, Arom (Thai for “emotions”), echoes more or less the same sentiments. Like its cover art painted by the frontwoman herself, the volatility of female emotions and the ability to harness those feelings or simply ride them out is on full display.
Since the release of her highly acclaimed 2016’s debut EP, Isan Soul, singer-songwriter Rasmee Wayrana has become known for her unique take on mo lam, Thailand’s oft-marginalised genre from the northeastern region. Together with guitarist Satukan Tiya Tira, they’ve crafted what they termed the “modern Isan” sound and fused it with elements of jazz, soul, blues, gospel and world music. If that EP was an amuse-bouche, its follow-up Arom is, indeed, a main course — and quite a substantial one at that.
Written and recorded while they were on tour, Arom arrives not under mononym Rasmee, but rather the band name Rasmee Isan Soul. This change reflects the record’s bigger, fuller production that is a direct result of various musicians chipping in. The perfect example of this is the excellent title track which also kickstarts the album. Recorded unedited with a full band, the track captures the spontaneous spirit of jazz in which each musician is free to jam and improvise however their emotions dictate them (little wonder, then, that it clocks in at almost nine minutes).
Inspired by Rasmee’s own childhood, Little Girls (available in both “acoustic” and “full band” versions) tells the story of two underprivileged girls who wish they could go to school instead of having to work to support their family. The song speaks volumes about the country’s deep-rooted social inequality and flawed educational system that has long plagued us.
The Beauty of Loneliness is another lengthy offering that doesn’t feel like it drags on despite its seven-minute runtime. This is largely due to the gorgeous guitar lines that highlight Rasmee’s raw and honest vocals. The same can also be said about album-closer Captured By the Nib of a Pen, a plaintive acoustic ballad about having to leave one’s family behind in pursuit of a better life.
Elsewhere, we’re treated to the full band version of Boonreun’s Love Song, the original of which appeared on the EP, and the rollicking, bluegrassy number Sin and Virtue — both written in Khmer language by Rasmee’s father.
Funk-leaning Free Beauty serves up yet another social commentary on today’s beauty standards and how more and more Thais aspire to look like a Korean pop star.
At its core, Arom offers a stunning collection of earnest molam tunes filtered through global influences from jazz and soul to Afrobeats.
Unlike those on Isan Soul EP, the songs here feel more expansive and more lived in, thanks to the full band studio recording. Rasmee may be at the mercy of her emotions, but she has found a way to turn her experience into art.